The Cruise 2000 show was held as a full scale show Paris and it is significant because it is the first Chanel cruise show that was presented as a full and independent show. Prior to this show, the cruise collection was always shown in a more intimate setting at the Rue Cambon salons or the place du marche St Honore. Women's Wear Daily said it was 'fresh breezy and charming' and pieces shown were relaxed and easy. Karl re-invented the classic Chanel dress to be worn in a easier jet-set kind of way. This dress with its added sequins is a stunning example of that.

This dress is easy to wear and yet still feels elegant and chic at the same time. The fabric is a mix of silk and a synthetic and it is purposely made to have a heavy texture that runs through the fabric. Adding the synthetic in with the silk is what helps to keep the texture in a more permanent way and really gives it the body that you see. The fabric is extremely light and easy so despite its more evening feel with the sequins it is as light as a day dress would be. Wide straps curve up and over each shoulder and then extend over the dress the full length to the hem. The bodice is cut straight across at the front and then it skims over bust and is easy through the waist. Long attached ties extended from those vertical panels so you can cinch in the shape of the waist. It widens out from there over the hips and is quite full by the time it reaches the hem. The back is cut slightly longer then the front and that combined with the fullness of the skirt gives it incredible movement around you when you move. At the back he has left the space between the back straps completely bare for a bit of skin to show. The perfect finishing detail are those tiny square sequins that cover the entire length of each of the vertical panels. These cover the panels from the back at the waist, over the shoulders and all the way down to the front. They catch the light from every angle and add yet another stunning dimension to the dress. It is so gorgeous and easy to wear. Excellent condition.

Lined in the same fabric through the bust and then the rest of the dress is unlined. It closes at the back with a hidden set zipper along an offset seam. Tagged a Chanel 40. Perhaps the occasional sequin missing but no bare areas. It appears to I've been worn very little if at all

Bust: 17" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam and you cinch it in with the attached ties
Hips: to 23" flat across from side seam to side seam
Length: 61" from top of the shoulder too the front hem, 63" to the beck hem

Modern Sizing Equivalent: SML-MED

Item# DD4420

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

Not only is this dress the twin of this dress was used for the 1992 ad campaign shot by Helmut Newton that featured the beautiful Karen Mulder, we also found the runway shots of it on a young 19 year old Tyra Banks. This one also has its original hang tag in place and on the back it has its original price of $1990, the equivalent of $4335 USD in today's dollars. Pricey then, pricey now, but a bargain as a pristine and collectable vintage piece that has never been worn. This was one of the iconic pieces of that season and I am very pleased to have found this example.

The dress is made from a crisp cotton silk mix that has just enough weight to it so that it sits perfectly once on the body, skimming over your curves in a chic and simple line. The dress perfectly represents this time period and you can see the transition from the stronger, more angular shaped of the eighties slowly moving into simpler shapes for the 1990s while still retaining the emphasis on the shoulders that the eighties had. That touch of excess from the 1980s is still there, but the shape is softening. The neckline is scooped and just deep enough to feel sexy but without being too deep not to be able to easily wear. It has a row of buttons under that that run to past the waist and this is held closed with those incredible poured glass enamel buttons. There are six in total, three red and three green and I love the heart shape they are done in. It skims over the bust waist and hips. The skirt widens out just a touch as it nears the hem. That ruffled shoulder and neckline detail is the star of the show. It follows the cut of the neckline and puffs out above the shoulders for a bit of high drama. I love that we have so many reference photos so that you can see just how amazing this dress is on the body. It still has its original hang tag and was never worn. Excellent condition

Unlined and closes down the front with the buttons as seen. Original hang tag. Tagged a vintage YSL 40

Waist: 14.5" flat across from side seam to side seam
Hips: 17.25" flat across from side seam to side seam
Length: 35" from top of shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD4409

Reference Photos/Video: (1-4) Spring 1992 Yves Saint Laurent Runway. Model: Tyra Banks.  /  (5) Spring 1992 Yves Saint Laurent Ad Campaign.

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

This dress is from the archive of the couture house Tiziani. The Tiziani atelier was founded in 1963 by Evans Richards an American who moved to Rome to pursue his fashion dreams. Elizabeth Taylor quickly became a regular client along with Doris Duke, Gina Lollobrigida and Principessa Borghese to name a few. The label is also famous because of the fact that as a young designer Karl Lagerfeld accepted a job there. Lagerfeld worked at Tiziani from 1963 to 1969. This is from that era and is a stunning examples of Karl's early design years. My client originally bought it at an auction several years ago directly from the current owner of the archive. This is an incredible dress and an incredible piece of fashion history.

The dress is made from a very pretty pale yellow silk chiffon that is as light as air and gives the dress its incredible movement. The silk is used for the sleeves and skirt and then the bodice has been heavily and densely beaded. It is incredible to see in person and this is the level of workmanship that you were only find in a vintage piece anymore. The pattern is created in several layers. The silk base has a honeycomb design created by hand with a real metal wire sewn onto the silk. Prong set glass rhinestones are scattered over that. The bead work is set in round intricate medallions that cover the entire bodice at the front and the back. Each medallion is made from beads sequence and large shaped pailettes. In the center of each is an intricate 3-D flower and these are done in different colours of silver and pink. The bead work is extremely fine. The very top edge of the bodice is finished in a row of dangling beads that match the beads in the center of the medallions. These have just a touch of movement when you move. The bead work wraps over the shoulders and continues across the full back. Along the sides he has left part of the pale yellow silk which I found very interesting. It almost makes it feel like a breast plate or armoured vest over the silk chiffon and this is an idea that he continue to use throughout his career. The sleeves are very full and cascade out from a softly pleated shoulder. This gives them extreme fullness and they pouf out fantastically above the cuffed wrists. They are not lined so you get this fabulous touch of transparency through them. The skirt has many many yards of chiffon in its construction so that it feels like it is floating around you when you move. I have included some photos of myself sitting in the dress and you can see how many yards of silk are around me. It is tremendously wonderful to move in. The very bottom of the skirt is finished with a thin strip of stiffening fabric that has been hand rolled inside a tiny hem. This creates a ruffled ribbon effect and the hem curves and swirls beautifully. The work on this dress is meticulous and by hand. It is an amazing piece of fashion history. Excellent condition with a minor note to review below

Fully lined in a hand set yellow silk through bodice and the skirt has an inner skirt that is made of silk and then covered in silk chiffon. It closes with a hand set back zipper. Each cuff buttons to close. Hand work throughout and hand finished inner seams. Unlabeled. There is just the start of some fraying to the inner edge of the top at the shoulders and a tiny bit of darkening under the arms inside the bodice. Please see the final two detail photos. There is couple of really faint darkened areas in the silk here and there but you really have to look for them. Perhaps a touch of grubbiness here and there to the very edges of the hem.

Sleeves: 25"
Shoulders: approx 15.5"
Bust: 18" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Inner hips: 20" flat across from side seam to side seam
Length: 60" from shoulder to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3499

Reference Photos: Cherie, Owner of Shrimpton Couture.

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

This is from the Spring 2005 season. It does not have its date tag but at some point I saw a similar dress in a deeper ivory that did have its date tag. Like the other 2005 season dress in pink that I have in the shop right now the dress is exceptional and it would make a fabulous wedding dress for a bride, or be worn as an alternative dress in a more extended wedding celebration. And of course it could also be worn to any glamorous event. No matter how good it looks in these photos it looks a million times better in real life. The photos do not fully capture the feather light fabric of the dress and how it moves. In the review of the show that season Vogue noted that Karl's runway was decked out with a red carpet. The show launched with a parade of super models walking the red carpet 'while men ran alongside them popping flashbulbs. The message was clear, in an era when celebrity dressing has become so over exposed, it's only exciting when an actress has exceptional talent in style'. This was in acknowledgement to the fact that Nicole Kidman was there with Baz Luhrmann and they had just starred in Chanel's new advertising campaign for Chanel No. 5. It was a spectacular collection

This is such a stunning dress. The first thing that you will notice when you slip this dress on is how light it is and how incredible it moves. It is a dream to wear. That panel of tulle that falls from the shoulder gives it the most amazing movement and the slightest bit of air will pick it up and make it float around you. The front is set low and has a slight V. Because my dress form has no bust it sits a little lower then it will on an actual body but once on an actual person it will pull up a bit more. Silver toned ribbon straps curve over each shoulder and attached to the back of one of those straps is a loop of silver ribbons that cascade down that side. On the other side is that fantastic panel of tulle that sits at the base of the ribbon where it attaches to the bodice at the front. That panel is extremely long and full and you can wear it over your shoulder for a slight caped feel or behind. It extends longer than the hem of the dress for a pretty trailing effect. The bodice is completely covered in two patterns of sequins. Over the bust area they are more scattered and densely applied and attached with a fine silver metal thread. Rhinestones and clear iridescent beads are scattered among them. From the seam underneath the bust to the dropped waist are vertical rows of sequins. These are set on a silk netting and have a silver thread in behind them. He then had tiny beads scattered here and there amongst the pattern. Around the dropped waist is a wide silver satin ribbon and there is a little ivory Chanel logo sitting at the side of the waist. The waist is open and easy and the dress has a bit of a flapper feel to it in shape. Under that the skirt flows out from a series of closes panels set all the way around the hips. These open up just past that so that the lower part of the skirt is full. Just above the bottom of the skirt there is a horizontal detailing done in the same bead work that is on the body of the bodice. These are set in rows spaced a bit farther apart than they are on the bodice and this add the perfect bit of detailing there. As you walk you get this sweeping feel created by the panel draping down from the shoulder that floats and trails behind you. The netting keeps it as light as a feather but also has enough structure to hold the shape and volume you see. I love the row of domed pearl buttons that close the back. It is absolutely beautiful. None of the photos here give it full justice. Excellent condition

Fully lined in an ivory silk and it buttons to close at the back with a zipper set and hidden under the waist. The waist ribbon snaps and buttons into place at the back. A tiny bit of the colour has come off one button at the back and otherwise it appears to have been worn very little if at all. The easy cut should allow it to fit a range of sizes

Bust: 16-17.5" flat across from side seam to side seam
Natural waist: to 15.5" flat across from side seam to side seam
Seam at top of hips: to 17" flat across from side seam to side seam
Natural hips: to 20" flat across from side seam to side seam
Bodice: 20" from top of bodice to seam at top of hips
Skirt: 37" from seam at top of hips to hem
Length: 57" from the top of shoulder to hem, 66" to the longest point of the attached tulle panel

Modern Sizing Equivalent: XS-MED

Item# DD4413

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 has dived into his archives once more for me and today I have the last of the five dresses he sent from his archives. This is a runway piece from 1993. The bead work on it was done by hand by Madame Gandini who did beading for many of the Couture houses of the day including Norell, Givenchy, Chanel and many others. John is one of my favorite American designers. He won two Coty Awards for his work. The first time in 1972 and then again in 1976. He designed clothes that were simple and elegant but glamorous. Striking evening wear was his signature and he is renowned for his cutting and tailoring. It is an extraordinary privilege to have pieces directly from his archives and these are things you will never see again. This one would be an amazing wedding dress for a bride or could be worn as an alternative dress in a more extended wedding celebration. And of course it could be worn to any glamorous event. It is a work of art and incredibly beautiful.

This dress is absolutely stunning. The fabric is an fine ivory coloured silk chiffon that is cut on the bias. It is lined in a nude silk chiffon and then the upper bodice is finished with a fine silk netting. The dress is detailed with  thousands of teeny tiny silver sequins and iridescent clear beads. The silk is feather light and the placement of the beads help it to hold the intended flow that John wanted it to have. The dress is suspended from the silk netting that starts at the neckline and then goes up and over the shoulders and down the back. The netting has just a touch of a green tint to it to give it a little bit of contrast against the skin. I love how the beading is intensified over the front bust area. The iridescent quality of the beads mixed with those tiny silver sequins catch the light and sparkle from every angle. The dress flows over the waist and hips from there. The bias cut lets it drape perfectly over you and shows off the body without being excessively tight. The front is set into a low V. It sits a little lower on my dress form then it will on an actual body so keep that in mind as you look at it. Two triangles curve in towards each other to meet at the center and then it wraps down and around the waist to the back. The back has the illusion of being left completely open under that single layer of netting. The skirt falls to the floor and gently widens out as it nears the hem. The back is cut longer then the front so you get a bit of a trained effect behind you as you walk. From the bust to the lower skirt you have a scattering of the beads and sequins over the silk. Around the hem these are set in a dense panel which not only adds detail and ties in the extensive detailing on the bust but it also gives the lower skirt a touch of weight to hold the shape and volume as you walk and stand. The colour is perhaps a touch brighter in person. It has this lovely feeling of being an heirloom piece and it is fantastically beautiful to see in person. It is a very special piece. Excellent overall condition with a note below.

Fully lined in a nude silk chiffon and slips over the head to wear. It hooks to close along the top of one shoulder. There are two areas where the netting has torn. One on the back shoulder and a tiny one near the shoulder seam. I also see a repair at the top of the shoulder. These could be repaired or it would be very easy to remove the netting completely and add tiny silk straps. Some of the bead work has loosened here and here and there are some small areas where they have fallen off. I have priced the dress taking these small flaws in mind. Please see the photos after the label shot. This is the original runway sample. Handwork throughout. Completely bias cut.

Bust: 14-16" flat across from side seam to side seam
Waist: 12-15" flat across from side seam to side seam
Hips: to 25" flat across from side seam to side seam
Length: 68" from top of shoulder to front hem, 75" to the longest point of the back hem

Modern Sizing Equivalent: XXS-SML

John's business was all done on a made to order basis. That means the majority of pieces you will find are a one-off, or if there are similar pieces, very few of each piece exist. This personal attention to each dress is clearly seen in the workmanship of his pieces. His work is very expensive and beaded pieces like this sold for over $20,000 and more during this time period. Having this actual runway samples that John pulled from his own archives to share with you is just amazing.

Item# DD4414

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 has dived into his archives once more for me and today I have two more of the dresses he sent for us with one last one to come after this. This is a runway piece from 2006. The bead work on it was done by hand by one of the same European ateliers who did beading for many of the Couture houses for this time period. John is one of my favorite American designers and right out of the gate he won the Coty Award for his work. The first time in 1972 and then again in 1976. He designed clothes that were simple and elegant but glamorous. His work veers towards minimalism with sharp tailoring. Striking evening wear was his signature and he is renowned for his cutting and tailoring. It is an extraordinary privilege to have pieces directly from his archives and these are things you will never see again. This one is absolutely extraordinary and so very sensual. It is incredible to see it in person with all of that extensive bead work on it.

John's business was all done on a made to order basis. That means the majority of pieces you will find are a one-off, or if there are similar pieces, very few of each piece exist. This personal attention to each dress is clearly seen in the workmanship of his pieces. His work is very expensive and beaded pieces like this sold for over $20,000 and more during this time period. Having this actual runway samples that John pulled from his own archives to share with you is just amazing.

This dress takes your breathe away when you first see it. The fabric is completely covered in thousand of tiny black seed beads on a black netted base. Like the others this gives the dress a bit of weight but in this case its balanced by the almost weightless netting - we weighed it and even with the light netting it was still about 3 pounds. It is so beautifully made that it balances and glides over the body perfectly. The front is cut in an almost squared off feel with a high neck that is cut across the width of the front. It glides right into the length of the skirt with no break at the waist at the front. Straps extend out from the top of the bodice and glide done either side of the back. The sides and back are left completely bare and open and it is incredibly sexy. When you turn all you see is bare skin. The waist is seamed at the back for a bit of definition. The skirt to the floor and gently widens out as it reaches the hem. On one side there is an incredibly high slit that shows a mile of leg when you walk or sit. And then there is the fabric itself. The beads fully cover every square inch of the dress but the coverage is done in two different degrees of density. This creates these fantastic vertical rows that run over the entire dress. The rows very with one being completely and densely covered and then the next is a row where the beads have a more scattered feel. These than go back-and-forth between the two to cover the whole dress. The more dense areas also create a border across the top of the dress and are what covers the straps. Because the backing is the netting Rose that have only scattered feeling are slightly transparent. This is absolutely incredible and is a almost shocking feel when you are in the light. You of course have control of how see through the dress is depending on what you decide to wear underneath it but that play with the transparencies in the stripes is incredible to see. It is a very special and rare piece. Excellent condition.

There are two attached layers of the netting underneath the top beaded layer. It closes with a low set side zipper at the back and a snap and hook at the waist band. Hand finished throughout. It appears to have been worn very little if at all.

Waist: 12-12.75" flat across from side seam to side seam
Hips: to 18.5" flat across from side seam to side seam
Length: 65" from top of shoulder to hem
Slit: 34" from hem up

Modern Sizing Equivalent: XXS-SML

Item# DD4405

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 Spring 2014 dress is one of the most photographed and best know of all of the Chanel pieces that Karl ever created. It has a spectacular provenance there are probably even more examples of it being photoed and worn that season that we have yet to find. It's twin was Look 84 on the runway and it was instantly snapped up to be photoed on Keira Knightley for the Harper's Bazaar cover. It, and variations in this print, also appeared on Bogue China, Czechia, Netherlands and Korea editions, InStyle magazine and many, many other publications. The range of models and celebrities who wore this dress is as vast ranging from Sarah Jessica Parker, to Rita Ora and Karolina Kurkova to name just a few. 

Vogue's review of the piece stated that 'The Grand Palais was transformed into a gigantic white-walled hangar of paintings and sculptures—quintessential Basel or Frieze—all seventy-five of them made by Lagerfeld during his Summer of Prodigious Creativity. He didn't actually create them himself—that feat would be too Olympian even for Karl—but he drew the pieces or made maquettes so his studio could realize the finished product. The coming together of concept and design was clearly responsible for the way Lagerfeld's theme infected his collection to a greater degree than usual.... Deconstruction, trompe l'oeil, collage, bricolage—this Chanel collection was a fest of art processes. You never get the sense that Lagerfeld is pushing himself; he makes everything look much too easy for that. Nevertheless, in the ninety-ish looks he showed today, there were more stories than he would usually be bothered to tell.' They mention the serties of dress that used thisprive specifically saying; 'a paint chart from the 1900s yielded a whole group of primally Pantone-ed pieces.' There were 14 pieces presented, the final 14 actually, that had variations of this print on them this dress that was the one that was photoed the most and pulled by all the editors and sold out worldwide. It was without a doubt the dress of the collection.

This dress has never been worn and it is in perfect condition. It even has its original stamped hang tag, price tags and its resealable bag with extra fabric. The dress combines a stunning light scarf weight silk that has that beautiful Pantone palette in all the colours of the rainbow in a print that travels horizontally over its surface. The dress is suspended from the shoulders by tiny silk straps. The bust has been covered in a painted white lace. This stiffens the lace underneath and gives it an unusual texture that is quite beautiful. This is then backed by a nude silk netting. The rainbow silk under that skims over you to a dropped waist seam that sits just over the hips. This seam is set loose and easy so that the dress skims over you rather than cling. Under that the skirt falls and widens out as it nears the hem. Another wide band of lace is set around the entire lower part of the hem. This not only picks up the lace detailing on the bodice but is also a clever way to add a bit of weight to the dress so that it falls perfectly once on the body. The skirt is cut to be shorter at the front and longer at the back with it it all done on a beautiful curve. You can see in the runway video how beautifully this allows the dress to move when you walk. On the runway Karl belted it above that dropped seam for added shape. For many of the editorial shots it was worn without a belt and I love that it gives you the option to wear it either way because it really changes the look at the dress from fitted to more loose and easy. It is stunningly beautiful dress and of course it has all of the amazing details you would expect from a Chanel piece. Excellent condition.

The dress is fully lined through the bodice in a nude silk behind the bust area and an ivory silk to the waist. The skirt is unlined. The lower lace part has a backing of two layers of silk tulle. It closes with a hidden set back zipper and snaps above that. All original tags and extra fabric. Tagged a 34 and has a generous cut

Bust: 16-17" flat across from side seam to side seam
Natural waist: to 15" flat across from side seam to side seam
Dropped seam: 15.5" flat across from side seam to side seam
Natural hips: to 25" flat across from side seam to side seam
Bodice: 21" from top of straps to dropped seam
Full Length: 39" from top of straps to shortest point of the front hem, 49" longest point of the back ham

Modern Sizing Equivalent: XS-MED

Item# DD4402

Reference Photos/Video: (1-6) Spring 2014 Chanel Runway, Look 84. Model Binx Walton.  /  (7) Keira Knightley for Harpers Bazaar, February 2014.  /  (8) Fei Fei Sun for Neiman Marcus, February 2014.  /  (9) Vlada Roslyakova by Ellen Von Unwerth for Numero Tokyo, April 2014.  /  (10) Photo by Mario Testino for Vogue China, March 2014.  /  (11) Robin Holzken for Telva Magazine, April 2014.  /  (12) Vogue Czechia, July 2014.  /  (13) Vogue Girl Korea, April 2014.  /  (14) Myself Germany, April 2014.  /  (15) Phoebe Tonkin in Chanel at the Humane Society Gala, March 2014.  /  (16) Sarah Jessica Parker for InStyle UK, May 2014.  /  (17) Karolina Kurkova for Harper’s Bazaar Malaysia February 2014.  /  (18) Rita Ora in Chanel at BET Studios, May 2014.  /  (19) Vogue Netherlands March 2014.

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

Matthew Williams was appointed Creative Director at Givenchy in June 2020 and this was his debut collection for the house. Vogue noted that; 'Williams is a 34-year-old American urban-wear designer joining a luxury house in a new age of creative director stardom. Givenchy relies on his personal image to make this union a bankable one. And his debut proposal reflected that in so many ways. His Givenchy debut read entirely like a morph between those codes (texture and hardware) and the black-clad elegance of the house he now inhabits. Suspended between the formal and the super casual, the devil was in the fabric treatments. ...There’s a twisted expensiveness about Williams’s clothes that feels clinical and dirty all at once... “I’m not a person who designs in themes. It’s very much product-focused. A lot of it is what I would wear personally,” he explained. He also noted that his vision for the Givenchy woman was “very elegant and powerful and chic”. And that actually perfectly sums up this dress. It was an instant hit and was seen on the runway photo, Kim Kardashian and Rooney Mara. Which I think is where the power lies in this piece... that is can work so well on these very different women.

The dress still has its original tags attached and was never worn. And I even have seen it on sale still. It was sold for 1820 GBP in the UK and in the US it was priced was just over $3000. It is made from a bandage like knit that has stretched to it but also enough weight to firmly hold your curves in place. And to give you curves where you need them. It is meant to fit onto the body like a second skin. The sleeves are long and the skirt falls to the floor in a long sleeve column. From the front it looks like a classic black fitted knitted dress. It is when you turn around that you get the full shock of the bare skin this dress reveals. The back is scooped open and low. You can see on the model how it sits to the low back in on someone who's shorter like Kim is it dips very low. Each elbow also has a oval cut out to reveal a touch of skin there and then there is a little slit opening near the end of the sleeve that you can slip your thumb through if you wish. If you look closely on the presentation photo you can see that the model did just that. The dress has its original price tag and hand tags still attached and has never been worn. Excellent condition

Online and slips over the head to where. There's a hidden set zipper across the top of one shoulder. Tagged a size small. Original hang tag and price tag attached. It has never been worn. The fabric does have some stretch and I've shown the comfortable range here and it probably could stretch a little more if needed

Sleeves: 27" and 10-14" around the upper arm
Shoulders: 13.5-15.5"
Bust: 16.5-19" flat across from side seam to side seam
Waist: 12-5-14.5" flat across from side seam to side seam
Hips: 17.5-20.5" flat across from side seam to side seam
Length: 61" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# DD4396

Reference Photos: (1) Spring 2021 Givenchy Collection, Look 45.  /  (2-3) Kim Kardashian in Givenchy, as posted on her Instagram, October 2020.  /  (4) Rooney Mara for Givenchy L'Interdit Rogue.  /  (6) From Net-a-porter.

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

Donald Brooks launched his label in late 1963 with a collection for the Spring 1964 season after an already successful start as a costumier for Hollywood. He quickly became one of the most sought after of the American designers and his clients included Jaqueline Kennedy, Claudette Colbert and Faye Dunaway. The New York Times said that he was one of 'the three B's of fashion' alongside Bill Blass and Geoffrey Beene. He helped to launch the American Council of Fashion Designers and won three Cody Awards over the course of his career. He launched a secondary boutique line 1971 all while also designing costumes for Movie and Television. He eventually closed his label to concentrate on costume work and only designed for the occasional private client. Finding documentation on his earlier pieces is rare and I am so happy to have a runway reference shot of this one for you so that you can see just how spectacular this dress is on the body.

This dress is just spectacular. This is the kind of dress that makes vintage so special. The workmanship on this dress is unbelievable. The fabric is beautiful to see and as you look at it closer you realize just how many small details have gone into it. It has the feel of lace as far as its pattern but it is made from an ultra soft black chenille cording that has been hand stitched into place over a metallic netted base to form the flowers and patterns that cover the entire dress. Onto that are glossy black sequins that have been hand sewn into place to follow parts of the design. The netting underneath the cording and sequins has a more open weave in places and he backed the dress in a nude lingerie netting to give a bit if coverage. It still gives you this feel that you are seeing through the dress here and there and this subtle detail is quite sexy. It dips into a low V at the front that goes right to the banding around the waist with a little bit of cording set across the base to hold it in place. It skims over the bust and the waist is seamed and set so that it has a slight empire feel. A black silk ribbon is attached around the waist to add a bit of detailing. On the runway they also added a flower off to one side and this would be easy to do if you loved the look of the runway. The skirt falls from under there and widens out as it nears the hem. It is cut to sit just over the ankle depending on your height so that you get a glimpse of shoe from under the skirt. The sleeves are the perfect finishing touch. They are cut wide and full at their ends and this perfectly picks up on the shape of the skirt. I love how all of the edges on the dress are finished with a scalloped detail for a soft and romantic touch. The metallic thread and sequin work let the entire dress catch the light when you move. It is extraordinary. Excellent condition

The bodice is lined in a nude lingerie netting and the skirt is lined in a nude silk. The sleeves are unlined. There are some tears and small repairs to the inner lining that I have left as it is still wearable as is. The inner skirt closes with a zipper and then the outer skirt snaps over that with silk covered snaps. The back buttons to close from the waist up with hand covered silk buttons and loops.

Sleeves: 21"
Shoulders: no true defined seam
Bust: to 18" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Bodice: 14.5" from top of bodice to waist
Skirt: 37.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3724

Reference Photo: Fall 1970 Donald Brooks Collection.

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

This is the second dress from this collection that I have in the shop at the moment and for this one we have full documentation on it including the spectacular runway reference photos so you can see just how good it is on. Bill Blass worked for the Maurice Retner label for 10 years as the chief designer. In 1968 the Bill Blass Inc label became a subsidiary of the Retner label. Then in 1970 he fully bought out his partners at the Maurice Retner label and re-launched it under his own name as Bill Blass Ltd. 1970 was the same year that he won his third Coty American Fashion Critics' Award and with it, his lifetime membership in the Coty Hall of Fame. By 1980 the company was doing 20 million dollars in revenue. He was arguably one of the most famous of all the American designers. By the eighties his work was even more ornate and luxurious than what he had done in the past. Prices for dresses could be as high as $5000 (which would be about $15,000 today). He was once asked why his clothes were so expensive and he replied, 'I'm an avid believer that we have to have clothes made in this country. Therefore we pay more money. ... The cost of labor and fabrication is what makes the clothing expensive.'

This is an exceptional dress. These metallic pieces are among my favorites by him and I love that this one is so well documented. The fabric is beautiful as it mixes soft pinks, tones of silver and grey with ivory and gold. These are set over the entire dress in rows that run down the full length of the dress. Some of the pattern has a slight raised feel to it and it has been all been embroidered directly into the fabric. Silver, copper and gold thread have been used over the entire dress and this is what gives the fabric its metallic glitz and makes it gleam and glitter in the light. It covers the dress from head to toe. The neckline is a cut into a high V with a wide border of the same fabric in a solid pink. The bodice crosses over itself and skims over you. This is then is balanced beautifully by those spectacular sleeves. Each sleeve is cut to just past the elbow and is wide and straight. They curve out from a slightly dropped shoulder and this emphasizes the way it sits on the body a touch. It hooks into place at the side and the waist is seamed but left on the more generous side. You can see on the reference photos that they put a wide band of fabric around the waist and you could easily re-create this if you wished. That border from the neckline continues all the way down the front of the skirt for some added detail. The skirt falls to the floor from there and widens out as it nears the hem. I absolutely love it. It is beautiful. Excellent condition

Fully lined in a pink silk. You step into it and then it closes with a hidden part zipper at one side of the inner torso and then it has a series of hidden snaps and hooks. Hand finishes throughout and ribbon finished inner hem.

Sleeves: 19" from the dropped shoulder seam
Dropped shoulders: so no true defined seam
Bust: to 18" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Bodice: 15.5" from neck to waist
Skirt: 42" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4394

Reference Photos: Fall 1970 Bill Blass 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.

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 1970s and is fantastically beautiful. No matter how good it looks on my dress form, in person and on the body it transforms into even more of a bombshell. It is 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 body of the dress is covered in overlapping gold, silver and copper sequins and beads that catch the light from every angle. A pattern is made across the front that swoops down on a curve and adds to the feeling of curves for the person wearing it. This detailing alone takes your breath away when you see the dress in person. The dress falls from skinny straps that curve up and over the shoulder. They are completely covered in beads and sequins to stay perfectly in line with the rest of the dress and I love this. The bodice dips down at the front and there is a triangle piece to cover each breast. It skims over the body from there gliding over the waist and hips. There is some shape at the waist but it is with a more easy feeling which keeps the dress feeling long and lean. Under that the skirt falls to the floor in a sleek column. Set into the skirt on one side are a series of silk chiffon panels and these give the dress its beautiful and unexpected movement. They fall in different lengths and widen out as they near their hems. When you move even the slightest they move with you and its gorgeous to see. At the back it is slit up the center quite high so that you see a flash of leg as you walk away. Above that 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. Excellent condition

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.

Bust: 15.5-17.5" flat across from side seam to side seam
Waist: 12-13" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 61" from top of the shoulder to hem with just over 2" turned under the hem
Back slit: 22.5" from hem up

Modern Sizing Equivalent: SML-MED

Item# DD4397

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 set walked the runway and was worn by none other then Carla Bruni. Which makes this suit that much more special. It also still has all three of its original pieces and I love that as well. Christian Lacroix launched his Haute Couture house in 1987 and his work was an instant worldwide sensation with the press declaring him to be the King of Couture. A ready-to-wear line soon followed along with perfumes and menswear. His collections were always exotic and lavish affairs. He drew his inspirations from across the decades and I doubt there was ever a more high glamour couturier. This suit with its supermodel tie-in is very special and a stunning example of his work during this time period. His couture pieces rarely come to market and I love having them in the shop when I can get them.

I love that this still has all three original pieces. It came to me with the jacket, skirt and the inner silk top that matches the lining of the jacket. Which is a very traditional Haute Couture detail. Having all three pieces makes it that much more versatile since you can mix and match all of pieces and wear them in so many different ways. The inner top is made of a silk with a abstract vertical wavy pattern in ivory, pale blue and pastel lavender. That exact same silk is used to line the jacket so when you wear the jacket open you get that incredible continuation of design. The skirt and the jacket are both made from a textured wool boucle with the skirt being a two-tone aqua and pale blue and the jacket picking up the lavender in the silk top. Unusual colour and pattern mixing was a forte of Lacroix and we see that beautifully in the suit. The jacket is stunning and every seam has been meticulously executed. The sleeves are long and the rounded shoulders have soft padding inside for a touch of structure. The seaming is set in curving lines to create the shape that you see and there are little boned Silk satin inserts at the front for shaping. That same silk details the inside of the collar runs across the top of the shoulder and along part of the edge of the split cuff sleeves. At the back he used that same fabric to gather and bring in the back of the jacket for shaping and add a pretty romantic detail with the bow. It snaps to close down the front with silk covered hidden set snaps. Buttons are sewn on the outside and each is a stunning jewel. Gold tone metal has been set with rhinestones crystals and turquoise. So even if you wear the jacket on its own or closed you get this stunning jewel detail there. The skirt is precisely and simply cut with that slight flare as it reaches the hem. The front panel wraps over which as a touch of detail and also leaves a hidden opening underneath so that when you sit or walk you get a tiny flash of leg. It is lined in an extremely high-quality pale blue silk. This is a stunning example of his work that will never go out of style and it is exceptional. The fact that it is true Haute Couture just makes it better and the workmanship is out of this world. Excellent condition.

Both the dress and the jacket are fully lined in silk described above. The top is made of a single layer of silk. Top closes with a hidden setbacks zipper and has ribbon finishing at the hem. The skirt closes with a side zipper and couture hook and eye at the waist. The jacket has hidden set snaps down the front. All three pieces are completely made by hand and have their proper Haute Couture tags present with sequential couture numbers under the tag.

Jacket
Sleeve: 21"
Shoulders: approx 15"
Bust: to 18" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Length: 19" from neck to back hem, 22" the longest points of the front hem

Top
Bust: to 17" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Length: 21" from shoulder to hem

Skirt
Waist: 13" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 21" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4391

Reference Photos/Video: Spring 1996 Christian Lacroix Runway, Look 4. Model Carla Bruni.

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

In the Vogue review from this collection they started off by stating that; 'The healing power of nature, the need for optimism, the importance of handcraft, the celebratory power of forward-looking fashion: All these things have been constant talking points in Paris for over a week now, but it took Karl Lagerfeld and Chanel to actually bring the vertiginous cliffs and coursing waterfalls of the Gorges du Verdon to the Grand Palais and wrap it all up in a final spectacular word on every point. The scenery—a facsimile of a beauty spot in the South of France—was so naturalistic that a breeze floated along the canyon, blowing off the girls’ clear plastic boaters and setting their extraordinary clothes flowing as they strode on in their thigh-high plastic boots.... “Did you feel it?” asked Karl Lagerfeld (rhetorically) afterward. “The molecules from the water, when you breathe them in, it’s very healthy for you! It’s why you feel good in places like this.” He had no need to check. We felt it, all right. Whether it was endorphin effects of the big outdoors scenario or the clothes, this walk in the country produced a fashion high that was shot through with relevance. The clothes were spectacular and the fabrics themselves where noted; 'the house tweeds fluttered with fringes or were reduced to almost transparent cages. Lurex threads and crystal jewelry glinted. The intricate balance between natural-looking textures and advanced technical skills was breathtakingly dynamic to behold.' when comparisons were made to the sixties Karl emphatically stated that; "They (the fabrics) were never like this! The fabrics then were terrible. There’s not a fabric here which you can buy elsewhere. They’re all made by Chanel, in-house.” and indeed the fabrication of this dress is remarkable. No matter how good it looks here you will be in awe to see it in hand.

As stated above the fabric of this dress was made in-house as a variation on the classic Chanel boucle and it is spectacular. The dress itself is chic and simple but the colour and fabric gives it maximum impact. The twin of this dress walked the runway for Look 8 and I love having runway references for you to see how amazing it is on. It was styled on the runway for full over-the -top catwalk effect but really when you pull all away it is very classic but with an edge. This makes it very versatile on how you choose to wear it and I love that. The dress is a simple sheath with little capped sleeves to give it that chanel shoulder Karl loved. It skims over the bodice qand comes in at the waist amd then skims over the hips. The skirt is cut in a long penciul and comes in slightly at the hem. The vent for this one is at the front and that gives it another sharp little nagle that pics up on the incredible shoulders. I love how the shoulders have that inset of the boucle edged with that brilliant blue lace and then that same detailed boucle is used in triangles that wrap and curve around the waist to give shape. Clever and subtle seams shape the dress around you so that it's very flattering. It is lined in a pale pink silk. For the body of the dress the fabric is a combination of ivories, soft greys, pale pinks and pale blues. Mixed into that or strips of a clear plastic and on the border edges there are strips of a iridescent rainbow Lamy ribbon. This means the entire dress has this incredible glint in the light which adds a completely different dimension to the classic Chanel fabric. I tried to take lots of close-ups for you but it's really incredible to see this fabric in person. This is an exceptional Chanel piece that will never go out of style. It is meticulously made and it is a beautiful piece showcasing the work that the Chanel ateliers are capable of and of Karl's time there. It has never been worn and has its original hang tag attached then to find it as Chanel fantasy tweed. Inside the little envelope hangtag there is also an extra square of fabric. Excellent condition.

Fully lined in a fine pink silk. The dress closes with a hidden set back zipper. Original hangtag present as described above. Tag a modern Chanel size 38

Bust: 17-19" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: 15" from top of shoulder to waist
Skirt: 30" from waist to hem with about 2" turned under

Modern Sizing Equivalent: SML-MED

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

Item# DD4390

Reference Photos/Video: Spring 2018 Chanel Collection, Look 8. Model Lexi Boling.

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

There is very little information of the cruise collections from the early 2000s but we were able to find runway photos of the jacket. On the runway it was paired with a casual trouser andI love that this helps to show you have versatile it is - you can wear the dress and jacket together or separate them to extend the life and times you will wear both pieces. This came from the estate of a woman who shopped a lot at Chanel. Her things were stunning and she took immaculate care of them. I absolutely love this set and it is just so pretty.

The jacket is a mix of the finest possible cashmere and silk and the dress feel more like a cotton and silk mix. Both pieces are absolutely beautiful. The jacket is so pretty in its won right. The base is a a pale yellow knit that has a wide ribbed texture through it set vertically. It is a hand knit border made of three rows of little knit pom poms spaced in tight rows. There are three layers of these. One is a pale pink and then that has a white and yellow row on either side. On the very inside there is a row of pink net lace for the perfect finish. These bordering detail runs down the front edges, around the hem and collar, and at the ends of the sleeves. The rest of the jacket is cut soft and easy so that it feel like a mix of a cardigan and jacket and just stays easy and simple. The dress is cut with a scooped front and another scooped at the back. The back scoop dips a bit lower. It is cut to skim over you with an easy waist and hip and then it has a pretty flare is it nears the hem. It has a very tennis country club feel to the way it is cut. The top part of the dress has a ribbed striped detail that runs horizontally across just under the bust area and then another at the top of the skirt. This striped detail is done in a yellow and deeper pink and I love it. The skirt has a more chevron ribbing and this adds a pretty detail to the dress and picks up on the horizontal striping on the jacket when you wear them together. There most likely would have been bought separately but I decided to keep it together because it felt like they belong together. A little rectangle is sewn onto one side of the jacket with Chanel engraved onto it and another on the dress just above the hip. This is a superb Chanel set that is just exceptional. Excellent condition.

Both the skirt and the jacket are unlined. Both the dress and jacket slip on to wear with no closures. Chanel logo sewn onto both pieces of the suit. It appears to have been worn very little if at all. I see a small area of darkening on the back of the skirt but only in certain lights and it was too light to photo. I am just being super picky. The color and texture are even better in person. The jacket is tagged a Chanel 40 and the dress has no size tag present. The colours are better in person

Jacket
Sleeve: 24" and 12-14" around the upper arm
Slightly dropped shoulders: 15.5"
Bust: to 19" flat across from side seam to side seam with no closures at the front
Waist: 17.5" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 20" from neck to hem

Bust: 16.5-20" flat across from side seam to side seam
Waist: 16-19" flat across from side seam to side seam
Hips: 20.5-23.5" flat across from side seam to side seam
Length: 39"

Modern Sizing Equivalent: SML-MED

Item# DD4389

Reference Photos: Cruise 2004 Chanel Collection.

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

This is an early set from Yves Saint Laurent and it is even more interesting because he repeated the top design for the very next spring collection and the skirt silhouette returned in many variations throughout the entire span of his career. This is also the collection shown before his scandalous Haute Couture collection for spring 1971 and those pieces are some of the most viable pieces of his work that you can find. It's interesting to see that he repeated this exact same dot in his couture collection as he used for this set. So there is a little extra historical tie and that this it has that has to is provenance outside of the other documentation we found. We found some great photos of the skirt and the top in both years so you have a great idea of how it looks once on. I love that having the two pieces makes it extra versatile. These early pieces are sometimes hard to document and it is extra special when we are able to date and document them.

These skirt and cropped top sets really showcase what the early seventies flower power hippie movement was all about. This set is especially fun with its textured weave cotton, dot print and mix of colours. The top is a simple bikini halter type top that wraps and ties into place. When off the body you see that it is two elongated triangles that attach at the point that would go around the neck and then one side on each triangle extends out into long ties. The last tie also extends out but ends in hook and eye. This let you tie it a few different ways and I photoed a couple that I thought of here for you and there are probably more. I also like that it lets you control how short or long it sits on the torso. You can wrap and roll the fabric so it's almost like a bikini top or you can leave it longer to meet the top of the skirt if you want more coverage. The skirt is equally as easy to wear. It has elastic at the waist and slips on. It widens out to the hem from there and is done in a series of tiers that are stacked on top of each other from waist to hem. The fabric is a cotton and it has a bit of a texture running through it and then there is an explosion of dots over both pieces. The colours are amazing on the skirt. Each tier is done in its own separate colour with a contrasting dot on it and then the top is the same colour as the final tier of the skirt. It is gorgeous. Excellent condition

Both the top and skirt are unlined. The top is as described above. The skirt has elastic at the waist and zips to close. The top is tagged a 36 but the easy cut of both and slight give of the fabric should work on a range of sizes

Top
It is flexible in size since it wraps and ties and has coverage across the front

Skirt
Elastic waist: 12-17" flat across from side seam to side seam
Hips: 20-23" flat across from side seam to side seam
Length: 25" from waist to hem

Modern Sizing Equivalent: XS-MED

Item# DD4386

Reference Photos: (1-3) Spring 1971 Yves Saint Laurent.  /  (4) Spring 1972 Yves Saint Laurent.

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 top was done in two almost identical versions for the Spring 1980 runway and I love that they were shown both with pants and a long skirt. It shows you just how versatile that the top is. Having the original runway reference photos also shows you just how gorgeous it is on and moving. Yves showed it with nothing underneath on the runway and the ruffle does go down the front just enough to allow this. If you want to be more covered you would just wear something underneath of course. It is pristine and a very collectable vintage piece due to its strong provenance.

This stunning Yves Saint Laurent top clearly illustrates his love and fascination with pattern mixed with seeing and showcasing the female body. It is made of a semi-transparent black silk chiffon that is has white dots running over the entire fabric. The semi sheerness combined with loose and easy cut are a signature Yves nod to sexiness. The top drapes perfectly in place and highlights everything while showing either everything or nothing depending on how you wear it. It is genius. The sleeves are incredible. Each is very full above the elastic cuff so they puff out fantastically and then there is a ruffle under the elastic to add extra detail around the hand. The cut through the body is also full and loose, making it very easy to wear. I love the double layer of the silk that circles the entire neckline. At the front there are two silk silk ribbons that tie the neck. The collar sits wide across the body and I think if you are very small through the shoulders you might be able to wear it sitting off shoulder as well. It is an amazing. It appears to have been worn very little if at all. Excellent condition.

Unlined and slips over the head to wear. Elastic at the cuffs and it ties at the front. Tagged a YSL 36 but generous cut so should fit a range of sizes.

Sleeves: 26.5"
Shoulders: no true shoulder seam
Bust: 21" flat across from side seam to side seam and widens to 22" at the bottom hem
Length: 23" from top of shoulder to hem

Modern Sizing Equivalent: XS-MED

Item# S991

Reference Photos: Spring 1980 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 amazing skirt whose twin was shown on the fall 2001 Chanel runway. This was an interesting season because the collection was viewed in Paris and then it was brought to New York where it was shown again. I love it because it's so versatile and can be styled in so many ways and with so many colours and prints. It can be completely classic or be styled to be extremely edgy. And I also love that even though the Chanel logo runs through it it's not overtly logoed.

The logo worked into the print makes it instantly recognizable as being Chanel. It is made from a very fine scarf weight silk that almost weightless once on the body. This fabric choice helps to keep it feeling effortless once you have it on and gives it incredible movement as it moves around you. It as a solid band black around the waist and then it skims over the hips to flare out to the hem. It is perfectly pleated all the way around with wide knife pleats that are each perfectly matched to its neighbor. They are stitched closed around the top of the hips and then flare open to give the skirt lots of movement and shape. It is just gorgeous. Under the top printed layer are two layers of black silk chiffon and these peek out just a touch at the bottom for extra detailing. You can see how wonderful it moves in the runway clip added for reference. Excellent condition with one minor note below

Fully lined in two layers of silk chiffon and closes with a hidden side zipper and two logo buttons at the waist band. There is a teeny bit of stress near one seam. It is minor and you have to really look for it. Please see the photos after the label shot. Tagged a Chanel 40

Hips: 19.5" flat across from side seam to side seam
Length: 21" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# S992

Reference Photos/Video: (1-3) Fall 2001 Chanel Runway Show, Paris Fashion Week. Model Devon Aoki.  /  (4) Chanel Fall/Winter 2001 Ready to Wear Collection Fashion Show at Villa Maria in Water Mill, New York.

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 top was shown with a matching skirt for the Fall 2017 Rosie Assoulin collection for Look 20. These tops were one of the hallmarks of the collection and this one was only produced in limited quantities. The black and white combination makes it so easy to wear and add a little high glamour feel to just about anything.

The top is an amazing feat of proportion and cutting. It has a deep slit open neckline with a ribbon tie at the neck. The front has a curved panel to highlight the cut and neckline and it is cut full and wide through the body.  A partial seam sits just above the waist and the lower part and sides of the top flares out from under that and it is very full and dramatic. At the back it falls from the shoulders and it has a ton of volume as a result. The sleeves are incredible. They are set low on the sides and then pouf out and are cut on a curve so that they follow the arm and maintain the same pouf from the shoulder to the cuff. The cuffs are cut extra long and each one is slit up their lengths. This lets you wear them unfolded so that they sit long and over the hand or you can flip them up like a giant cuff. The fabric is a silk with an ivory wool shot through to create the pattern you see. The wool insets also give it a bit of a 3D feel and added texture. I love it. It appears to have never been worn or worn very little. Excellent condition

Unlined and slips over the head to wear. Ties at the neckline and each cuff has two fabric covered buttons and loops to close. Tagged a modern Rosie Assouline medium.

Sleeves: 29" to longest point if unfolded cuff and 14" around upper arm
Dropped shoulders: 18"
Bust: 21" flat across from side seam to side seam
Waist: 22" flat across from side seam to side seam
Hips: open
Length: 28" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# S993

Reference Photo: Fall 2017 Rosie Assoulin Collection, Look 20.

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 Dior dress from the Raf Simons era and I believe that it is the production / retail version of the dress that Jennifer Lawrence wore to the Hunger Games Mockingjay premiere in November of 2014. You can see the similarities in the cut and the use of embroidery at the front. I think I might love this one with its startling combination of pink and blue even more. It is extremely beautiful and perfectly representative of Raf's time at the label and what his vision for Dior looked like.

I love the pure elegance and refinement that this dress has. It is just simply a beautiful and pretty dress that will be perfect for any occasion. You could not go wrong wearing this. The fabric is a stunning deep blue silk with a beautiful smooth finish. This fabric choice allowed Raf to mold and shape the dress while still keeping it light in weight. All of the seam work on the dress runs vertically from top to bottom and many of the seams are set on curves to bring the shape the dress to life. The construction alone is something to admire on this dress. It really harkens back to the original heritage of the house and there's a strong nod to the work of the original Christian Dior. At the front the neckline scoops down slightly and the arm holes are softly angled in towards the neck. The bodice is shaped around you with curved seams and the waist nips in slightly. The skirt flares out from under there to be quite wide and full. The front hem is cut shorter than the back and again all of the seams help to add volume and shape. At the back the fabric crosses over itself into a V. This overlaps creates a panel at the center of the back skirt that adds extra volume and flare. The skirt is set on a curve at the hem and that extra fabric allows it to billow out behind you when you walk. Jennifer's version had more of a bustle at the back so this one is not quite as full as her dress, however if you did love that look you could add a crinoline underneath the skirt to achieve it because there is room. The final finishing touch is that spectacular embroidery work that is set across the front and over the back of the dress. The embroidery combines a vivid pink thread with a deep red that creates sprigs of flowers. Some of the stems are made from tiny seed beads and the flowers are highlighted with combinations of sequin and bead work. The shock of that pink against the blue is just fantastic and it's really what gives the dress that feel that this is indeed a Raf Simons creation. It is spectacular and appears to have been worn very little if at all. Excellent condition

Fully lined in a blue silk with ribbon edge finishes at the hem. It closes with a hidden set side zipper. Pockets on each hip. Tagged a US2, FR34, GB6, IT38

Bust: 16" flat across from side seam to side seam
Waist: 13.25" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Bodice: 15" from top of bodice to waist
Skirt: 34" from waist to shortest point of front hem, 45" to the longest point of the back hem

Modern Sizing Equivalent: XS-SML

Item# DD4384

Reference Photos: Jennifer Lawrence in Dior at the Hunger Games Mockingjay Part 1 premiere, November 2014.

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 we looked for photos of this dress we did found these incredible shots photos of Vanessa Paradis shown with Cecile Cassel woe was wearing a dress in the same print to the 2013 Cruise Chanel show. This was a productions piece that I have seen attributed to Spring 2012 but there is the possibility that it is might be a bit earlier. Regardless of that it is a gorgeous dress and I personally love this version more then the one Cecile wore. It has that classic Karl quirkiness mixed with high drama that we love to see when collecting his pieces.

This Chanel dress is wonderful. The cut is simple and classic but at the same time that poufed skirt detailing gives it a bit of an edge. It is made of two fabrics. The bodice is a soft cotton mix knit that is hand crocheted into little nubby rows that run vertically from the neckline to the waist. It is in line with the classic Chanel boucle feel but it has a more artisanal feel to it. The skirt, scarf and straps are all made from a  silk chiffon. The colour of both fabrics is a soft deep blue combined with a white mixed in to create an abstract pattern. The silk chiffon keeps the dress very light and easy to wear. The bodice of the dress is simple and classic. Tiny chiffon straps curve over each shoulder. The bodice is cut straight across and wraps all the way around you. Set under each strap at the front is a pretty Chanel metal brooch piece. Each has four muted crystals inset into it and they also have that a classic double C logo. The bodice is brought in a touch at the waist and then the skirt falls to the floor from under there. The skirt is spectacular. It is caught up just above the knees with a seam. This causes the skirt to pouf up and around you above that seam. Under that it falls the rest of the way to the floor and gently widens out as it near the hem. The lower skirt has tons of movement when you walk. I love the black silk ribbon that sits on one side of that seem. It is the perfect romantic touch. The skirt is in its original supermodel length and the dress appears to have been worn very little if at all. It also comes with its original silk chiffon scarf piece that is cut extremely long. You can use this to wrap around your shoulders, tie it around the neck, or even use it as a head piece or turban. The construction is immaculate. It is stunning. Excellent condition.

Fully lined in a silk organza through the bodice and the upper part of the skirt. It closes with a back set zipper. Light boning at the sides of the bodice. The bodice has some stretch. It appears to have been worn very little if at all. It is tagged a Chanel 40.

Bust: 16-18" flat across from side seam to side seam
Waist: to 16" flat across from side seam to side seam
Hips: to 26" flat across from side seam to side seam
Bodice: 16" from top of shoulder to waist
Skirt: 45" from neck to front hem, 48" to the back hem
Scarf: 120" x 21"

Modern Sizing Equivalent: SML-MED

Item# DD4383

Reference Photos: Cecile Cassel and Vanessa Paradis attend the Chanel Cruise 2013 show at the Chateau de Versailles, in Versailles, France, on May 14, 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 worn on the Yves Saint Laurent runway by supermodel Yasmeen Ghauri. We also found runway footage and lots of reference photos of the dress as she walked the catwalk in it that season. It is an exceptional rare and wonderful piece by Yves Saint Laurent. These gold lame pieces are what defined that season and I am very pleased to have found this example. Especially given its tie in with Yasmeen. It is magical and is a definitive piece that you instantly identify as a YSL piece. 

I love that we found some runway footage so that you can see just how spectacular this dress is on and moving. It was styled with a thin gold belt on the runway and it would be very easy to add a vintage or modern version if you wanted to get the full runway feel. The fabric is feather light so it is insanely comfortable and it moves beautifully on the body once on. It is made from a feather light silk lame chiffon in a solid gold with a tiny bit of a stripe texture running through it. This causes the entire dress to catch the light and shimmer from every angle. The bodice is cut to skim over you. It is gathered up and into the shoulder on one side where a row of gold toned metal buttons sit. These are fully functional and run across the top of the shoulder. The fabric is also gathered in a touch at the waist on the opposite side. It then skims over the hip and is gathered into the hip where it buttons again. This is what creates that drape over the body that you see and it subtly highlights and creates curves. The skirt is remarkable. It falls over the hips with that gathering on the one side and then drapes to the floor. The gathered side makes the hem slightly asymmetrical and it has a high slit on the side it buttons that allows some leg to flash. It is a double layer of the same fabric so when you walk the gold is not broken and you see it on the inside part of the skirt. As good as it looks here it only really comes to life once on. It is an incredibly beautiful dress and no matter how good it looks in the photos the sensation and tactile feeling of the fabric and lightness when you have it in hand is just phenomenal. Excellent condition with a minor note below.

Fully lined through the bodice in gold silk and the skirt is a double layer of the gold. It zips to close under the decorative buttons on the hip and the zipper continues to up to under the arm. The buttons on the shoulder are functional. There is a weight attached inside the bodice to that it hangs properly when on. I see some one pinhole near the hem of the skirt and a couple teeny tiny areas where you can see the black under fabric. There is so much fabric that you would only ever see them if its laid out flat and looked for these but they are mentioned for accuracy. Please see the photos after the label shot. Bias cut through the bodice and skirt.

Bust: 17-21" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: 17-20" flat across from side seam to side seam
Bodice: 16" from top of bodice to waist and will blouse over if belted
Skirt: 44" from waist to hem with a 30" slit on one side

Modern Sizing Equivalent: MED-LRG

Item# DD4382

Reference Photos/Video: (1-6) Fall 1991 Yves Saint Laurent Runway.  /  (7-8) Fall 1991 Yves Saint Laurent Ad Campaign photographed by Helmut Newton.  /  (9) Model in Yves Saint Laurent for Vogue Paris, December 1991.

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

One of the key elements of the Courreges Spring 1973 Haute Couture collection was the snap closure. They played a two fold role in that they were a functional element to close the pieces and they were also used a part of the design. When looking for a reference photo we found a shot of a similar shaped dress from that collection that has the same snap detail that this one has. It also gives you an idea of the general shape that the suit has once on the body. This is a stunning example of his couture work from this time period.

The suit is made from that classic wool jersey that Andre Courreges loved to use for his pieces and most that you find from around this era are made from it. The colour is a deep blue that is flattering on almost every skin tone. The fabric has a slight texture to it and all of the top stitching details and the snaps have been carefully matched to the same colour. You still see the seaming and details but it feels more subtle and chic. The jacket is beautifully cut and it is meant to skim over the body with softened classic box shape to it. The sleeves are capped and the shoulders are shaped by the intricate seaming rather then being padded. It snaps into place down the front. The shape is created by curved vertical seaming done to follow the lines of the jacket. The skirt under that is fantastic. It is banded around the waist and then goes out on an angle to the hem. I photoed it laying flat so that you get a better feel for the shape. It closes with a row of snaps that run down each side of the front and both sides can completely unsnap with the last two snaps being decorative. This gives you a bit of an opening on either side  already but you could undo more and open it as high up as you dare. Its fabulous. Excellent condition with a note below

Both pieces are fully lined in a white silk and close with the snaps as described above. There is an area of fabric missing from the interior of the skirt that obviously has no impact once on. Please see the photo after the label shot. Tagged a vintage Courreges 00

Jacket
Shoulders: 12" across
Bust: 16.5" flat across the back from seam to seam
Waist: 14.5" flat across the back from seam to seam
Length: 18" from neck to hem

Skirt
Waist: 12" flat across the back from seam to seam
Hips: 17" flat across the back from seam to seam
Length: 22.5" from waist to hem

Modern Sizing equivalent: XXS-XS

Item# DD1091

Reference photo: Andre Courreges Haute Couture Spring 1973

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

These full skirted mini dresses appeared in both the ready-to-wear and couture show for the spring 1992 season. Included a ton of reference photos to show you the many designs that were done of this dress and to show you how fantastic the cut is once on the body. The collection paired past and present design elements and many of these dresses were shown with cropped denim overtop. He softened his usual baroque patterns with flower designs mixed in. Even with that added softness the entire collection, and especially these dresses, was still extremely sexy and he himself said the attitude of the show was 'pinup girl'. This is an exceptionally fabulous dress and shows why his work is as highly valued as it is.

I love this dress. It is made out of a blue cotton mix that has one of his famous Versace patterns over its entire surface mixed with florals. Tiny straps curve over the shoulders and these straps are removable. Take them off and it instantly converts to a strapless dress. A gold lame piping highlights the cotton design of the dress and adds a bit of glitz. More of the gold lame has been box pleated and added around the entire hem of the very full skirt. The bodice is meant to be more fitted and a border plunges down the center at the front. There are three straps going across the plunge to give that signature little hint of bondage that you see so often in his work. The waist nips in with an angled band edged in the gold cord to add definition there. The skirt is spectacular. It is set in around the waist in these big box pleats that widen out as they near the hem. This gives the skirt incredible fullness. To help hold that fullness there is a built-in layer of a royal blue tulle underneath the skirt that helps to hold it shape. When you move or twirl or sit you get just a glimpse of this. If you wanted it to be really full you could add an additional crinoline underneath to really give it that full on runway feel. That gold edge that I mention above that runs all the way around the bottom is the perfect finishing touch. It is an amazing dress and instantly recognizable as one of his pieces. Excellent condition with a small note below.

Fully lined through the bodice in a blue silky rayon and the skirt has the added layer of tulle. It closes with a side set zipper. I see a couple of small marks on one side of the bust that are very faint. Please see the photo after the label shot. Repairs to the inner tulle. Tagged a vintage Versace 40.

Bust: 16.5" flat across from side seam to side seam with extra room at the cups
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of shoulder to top seam of band at the waist
Skirt: 18" from waist to hem including the one inch band at the waist

Modern Sizing Equivalent: SML-MED

Item# DD4380

Reference Photos: (1-4) Spring 1992 Versace Runway & Ad Campaign.  /  (5) Spring 1993 Versace Versus.

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

Norman Norell was one of the great American designers. His clothes were wildly expensive in their day and he was credited for the unique ability to translate Paris couture into American ready-to-wear. He started in the film industry and then was hired by Hattie Carnegie. In 1941 he left and and joined Anthony Traina where the Traina-Norell label soon appeared. Upon Traina's retirement in 1960 he launched his own self-named label. He won the very first Coty American Fashion Critics' award ever given in 1943 and then won it again in 1951. In 1956 he became the first designer to earn a place in the Coty Hall of Fame. His signature styles for day ran the gamut from shirtwaists, suits, beautifully tailored coats and clothes that seemed simple at first glance but were logistically complex. Norman himself once said 'To qualify as a designer one should not be afraid to repeat a good design, and certainly must have his own signature'. He achieved that and more. I think every serious vintage collector should have a piece of his work in their archives.

This is a rare dress. It is from the Spring 1968 colelction and its twin in white is held in both the MET's collection and in the Goldstein Musuems collection. As cute as those are n the cream colour I love this deep navy colour which is not only more wearable but very chic.

Norman Norell dresses were cut with an exception eye. Every line and seam is placed exactly where it should be to flatter the body. This particular dress is a fabulous example of his work during this time period. The dress is made from a deep blue wool jersey that has a bit of texture to it. The neckline is rounded and finished in a red to contrast against the blue. It is cut to skim over the bust and then disappears inside the waist. The waist is cut on the looser side and the skirt literally buttons into place over the bodice. It is so unusual. All of the buttons are attached and even though they are connected in some places it is the buttons that hold the dress together. This unusual detail alone makes me love this piece. The skirt extends out from there on an angle. It skims over the wait and hips and then from there it falls to the floor and gently widens out as it nears the hem. It closes with two zippers at the back, one on the skirt and the other on the bodice. The waist is detailed with another band of red to pick up on the neckline and then there is an embroidered anchor on the front. It is amazing. The dress is made to demi-couture standards and the finishes within it are superb. Great overall condition with a note below

Fully lined in a blue silk and closes with a zipper on the skirt and bodice as described above. The buttons are all functional. There are a couple of light grazes here and there that are minor and some very minor light pilling here and there. Some grubbiness to the anchor thread. Please see the photos before the museum reference photos. Hand finishes throughout.

Bust: to 18" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 17.5" flat across from side seam to side seam
Length: 36.5" from neck to hem with 3.5" turned under the hem

Modern Sizing Equivalent: SML-MED

Item# DD4379

Reference Photos: (1) Spring 1968 Norman Norell Ensemble in The MET Museum Collection.  /  (2-3) c.1960s Norman Norell dress in the Goldstein Museum of Design Collection.

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

On the Spring 2019 runway two variations of this dress where shown. Look 27 was the nearest to this one but had a contrasting border around the hem and a halter layers over it the bodice. And then a sleeved version was shown for Look 29 whose skirt is like this one. It is always fascinating to see how things are combined woth different elements from the runway presentation to make the actual dresses that go to retail.

This dress is just gorgeous and one of the prettiest dresses I have seen by the label. They have a knack for making these pieces with pretty prints and then adding a twist on the design to still give it that McQueen edge. The cut is simple and flattering. Wide straps curve over each shoulder and extend into the bodice. The neckline is squared off and the top is cut the skim over you. The waist is seamed and you can add a belt to cinch it in even more if you wanted. The skirt falls from under that and it is spectacular. The back is cut longer then the front and you can see how you get a flash of leg from the runway photos. There is a ton of fabric in the skirt and it has been caught up with ribbons placed inside the skirt here and there to help hold the volume and also to shape it into the draping that you see. This gives the skirt a pretty fullness to it and when you walk it catches the air and billows out around you. The fabric is gorgeous. It is a light cotton that has a touch of crispness to it. The entire surface of the dress is screened with a design depicting red flowers and greenery on a crisp white backdrop. It is fabulous. Excellent condition with a minor note below

Lined in a white cotton through the bodice and the skirt is unlined. It closes with a hidden set back zipper. There is a touch of grubbiness to the inner edges of the bodice but it otherwise looks and feels unworn. A pocket on one side of the skirt. Tagged a McQueen 46.

Waist: 15.5" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of bodice to waist
Skirt: 24" from waist to shortest point of the front hem, 42" to longest point at the back

Modern Sizing Equivalent: MED-LRG

Item# DD4377

Reference Photos: Spring 2019 Alexander McQueen Runway. Look 27 (Model: Gaby Odiele) & Look 29 (Model: Roos van Elk)

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 Ossie's most famous and recognizable designs. Its twin in a black colour is held in the Victorian and Albert Museum. The caption on their dress reads: "This dress has the simple, flattering lines of a classic Ossie Clark design. Its flowing silhouette, waist-tie and deep décolletage suited women of most shapes and sizes. This style was very successful when the Radley label produced it. Radley made it in printed fabrics as well as a range of coloured crêpes." The history behind this label is fascinating. 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. He said yes and dresses like this were the result of that collaboration. These early 'ready to wear' pieces were never produced in vast quantities making them a collectible and valued part of Ossie's history. 

The design of this dress is said to have been based loosely on a graduation gown and then he combined that with the flow and drape that he was known for. His signature sexuality that he worked into his pieces is displayed in that ultra low front plunge. That plunge deepens into a deep V that is cut right down to the seam at the empire waist. An attached tie wraps around and ties to give you some the shape and it keeps the plunge from moving. The skirt flows from under the front gathers set under the base of the neckline. At the back it falls from under the shoulder yoking. It cascades to the ground from there and is balanced by the wide cut sleeves. This dress is made from his signature moss crepe and this fabric has beautiful movement. It is also in its original supermodel length. I have the twin of this one myself and have had it for years and it will forever stay in my own closet. I can tell you from personal experience that it is a dress that you will wear over and over and easily goes from day to night. I have included some past shots of me wearing my personal black one so you can see how easy it is to wear. Great overall condition with notes below

Unlined and slips over the head to wear with attached ties at the waist. Soft padding in each shoulder. There is a soft variation in colour throughout the dress and an area near the hem that is a touch lighter in colour. Some tiny pinholes here and there throughout the dress including on the end of the sleeve, near the seam on one side and near the hem. Grubbiness at the hem and the hem was let down at some point. This all gives the dress a slight intentional distressed feel that works. I have priced it even lower then I have others in the past by quite a bit as it is perfectly wearable and actually looks great once on because these are all minor. Please see the photos after the label shot for some areas. The flowing silhouette, waist tie and deep decolletage should work a variety of figures and sizes. Tagged a vintage Ossie UK 14

Sleeves: 24"
Shoulders: no true seam"
Bust: to 23" flat across from side seam to side seam
Waist-hips: open
Length: 59" from neck to front hem, 64" to the back hem

Modern Sizing Equivalent: SML-LRG

Item# DD4376

Reference Photos: (1) 1974-76 Ossie Clark Dress from the V&A Collection (2 & 3) Cherie, Owner of Shrimpton Couture, by Erin Leydon

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

I have had this stunning dress in the shop in the past and I am so pleased to have another one as it is definitely one that everyone loves. I love that it was designed by Alber Elbaz which makes it even more special now that he is gone. This was done for the 2012 collection and it is as beautiful now as it was then. Maybe more so.

The dress is gorgeous and I love that is is not a traditional white but rather it uses a combination of a soft blush nude silk at the top and then the skirt is a soft pastel ivory with a slight grey undertone. The bodice is made from a fine silk in that soft pinky nude and it is suspended from the shoulders with straps that have been detailed with pearls and crystals. These are set on a fine silk netting for a romantic and delicate feel. At the back they trail down past the bottom edge of the top for a pretty detailing. The waist is detailed with a wide silk grosgrain ribbon in an ivory. It wraps around you and then at the back each end extends out so that you can tie it into a bow. The extra long ties fall almost to the hem of the back skirt. The skirt itself is amazing and very full. The fabric has a slight texture running over it and is just thick enough to hold the shape and volume that you see. The front falls in more of a sleek column feel that gains more width as it nears the hem. The back is gathered in large pleats and all of the volume you see is from the way the skirt is cut and gathered combined with the fabric that was used. I did not add any additional crinolines under this for the photos, though if you wanted it to be even fuller you easily could add one underneath and get a very full and voluminous look. The back is trained and it has the most beautiful lines as it trails out and back behind you. Excellent condition

The top is a double layer of the silk and the skirt is unlined. It closes with the signature exposed Lanvin zipper at the back. The attached ribbon at the waist can be tied as you wish. It appears to be unworn but there is some very minor grubbiness to the back hem, most likely from being stored on a rack. The colors are better in person and softer. Tagged a modern Lanvin 36 

Bust: to 16.5" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of bodice to waist
Skirt: 50" from waist to front hem, 60" from waist to back hem

Modern Sizing Equivalent: XS-SML

Item# DD4375

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 Resort 2009 show was all about the glam jet-setter mixed with a touch of the 1970s. Vogue's review of the show said; 'The clothes; the bouncing, center-parted hair; and the seventies vibe were all indivisible from Giannini's own style: a contemporary cherry-picking of casual-glam, jet-set dressing as caught in the flashbulbs of the paparazzi 30 years ago. She quoted Talitha Getty, Lee Radziwill, and Jane Birkin as direct inspiration: Getty for the long, flowy gypsy dresses; Radziwill for the neat banded coats; and Birkin for the teeny-tiny thigh-high smocks trimmed with broderie anglaise. Principally, though, it was a rendering of everything Giannini habitually plays with from the Gucci archive and makes her own—here in a palette of white, caramel, burnt orange, teal, and python. There were seashell scarf prints on chiffon... gold pendants with enamel scallops, and thick, silk cords' This was Look 18 in the show and it is spectacularly beautiful. The longer dresses from this show where all made in limited quantities. The dresses in this collection were some of the best that Frida did during her tenure at the house and it is gorgeous.

I love that we have the runway shots and the ones from the Look Book that year so that you can see just how spectacular this dress is on and moving. They also show you just how much silk went into this piece. It's amazing. The fabric is feather light so that your slightest movement causes the dresses to float and billow around you. It is made from a printed silk chiffon that combines shells and stripes across its surface. The bodice is made from the silk set horizontally and then it extends out into to extra long ties that tie at the back and allow you to adjust the fit. This creates this stunning curved line as it dips down at the back. The skirt is remarkable. It is in its original supermodel length and made out of two layers of silk. The top later is the printed one you see and then there is a solid blue layer under that. The skirt has many many yards of silk in it and it is constructed to have this incredible fullness and movement. The fabric is so light and fine that when you stand still it falls in a pretty column around you without adding bulk. You still get a hint of the fullness that it has but then when you move the many yards of fabric that is actually there allows the skirt to billow out around you. The fabric is so light and airy that when you walk it creates this incredible floating sensation. The finishing touch is that stupendous amulet at the front. Gold toned shells are mixed with crystals and beads. A thick black cord laces through it and then ties behind the neck. The ends are capped with a gold cap and then they can be attached with a metal clasp ball chain that you can style as you wish.As good as it looks here it only really comes to life once on. It is an incredibly beautiful dress and no matter how good it looks in the photos the sensation and tactile feeling of the fabric and lightness when you have it in hand is just phenomenal. It is a beautiful and glamorous dress. Excellent condition with a minor note below.

The dress is lined in a blue silk and closes at the back with a hidden set zipper and then the cord ties around the neck. There are two small black marks on the front to the side of the dress. Please see the photo after the label shot.  It otherwise appears to have been worn very little if at all

Bust: 17" flat across from side seam to side seam
Seam under the bust: 15.5" flat across from side seam to side seam
Natural waist - hips: open
Bodice: approx 12" from neck to seam under the bust but this can be adjusted with the tie. The bodice is 5" high at the widest point
Skirt: 53" from the seam under the bust to hem

Modern Sizing Equivalent: SML-MED

Item# DD4369

Reference Photos: (1) Resort 2009 Gucci Runway, Look 18. Model Lily Donaldson.  /  (2-4) 2009 Gucci Cruise Collection Catalog.  /  (5) Gucci 2009 Cruise Collection Launch in Australia.

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD4367

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

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

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

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

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

Modern Sizing Equivalent: XS-SML

Item# DD4368

Reference Photos: Spring 1990 Oscar de la Renta Runway.

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD4362

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

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

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

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

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

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

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

Modern Sizing Equivalent: MED-LRG

Item# DD4361

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

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

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

The dress is gorgeous. It definitely takes inspiration from the bias cut couture pieces of the 20s and 30s. The seam work and simplicity of this dress is stunning to see and it is even better on an actual body. It is made from a beautiful black silk chiffon that has that same weightless feel that the best of the 1930s pieces did that were made from similar fabrics. Like those dresses of the thirties this is also cut on the bias but with a more shaped silhouette. It is cut to flow over the body and skim its way over the bust, waist and hips as it falls to the floor. The neckline is set wide across the shoulders and has a soft and feminine drape at the front that shows some skin there. On the one side of that draped front it a caught up with a little pleat detail just off to the side. It skims over the bust and is brought in just a touch at the waist through the seaming. The skirt flows over and hugs the hips and then flares out as it reaches the hem. The seams are set vertically through the skirt and at the helm each one flares out so that you get a ton of movement around the lower skirt. This flaring out at the bottom give you fabulous movement when you walk or move. It also adds to the hourglass shape the dress has. The sleeves are set on a slight curve to follow the shape of your arm and each is cut a little extra long so that when it's on it's going to gather up along your arm just a touch. I love the top set, angled seaming that sits on each hip and the way that the vertical panels of the skirt start from a curving seam sent just below those angled seams. This is where those little subtle details that Galliano put into his dresses make them heads above other pieces. That little bit of added seaming causes it to sit in a certain way on your hips and then that in turn affects how the entire dress sits on your body. You could also add a belt for added shape. The dress is spectacular. It is easy to wear and it's classic design means you can style it numerous ways. It is also in its original uncut supermodel length. Excellent condition.

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

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

Modern Sizing Equivalent: XS-MED

Item# DD4358

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

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

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

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

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

Modern Sizing Equivalent: XS-SML

Item# DD4354

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

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

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

The dress is made from a purple coloured cotton that has a horizontal stripes running through it in various bright colors. This is a play on that classic summer tube dress that was all the rage in the late 1970s. You just slip it on and tighten the tie at the neckline and the one at the waist to shape it. The ties are made of the same fabric and I loved that this gives them that little bit of color. The dress is suspended from two little straps. It is cut straight across the top. The bodice is cut to skim over you to the ties at the waist. I prefer it tied more loosely so you get that sense of swing the dress has but you could also bring the length of the skirt up by tying the waist tie tighter and having the top blouse over it more. I shot one photo like that for you so you can see. The skirt widens out to be quite full by the time it reaches its hem. It is made of three tiers of fabric and each widens out more as it goes down to the hem. This gives you lovely movement when you move. It is fantastic. Excellent condition.

Unlined and slips on to wear. You can adjust the elastic at the front of the bodice and also the tie through the waist. The easy cut and adjustable fit should allow it to fit on a range of sizes

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

Modern Sizing Equivalent: XS-MED

Item# DD4355

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

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

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

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

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

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

Modern Sizing Equivalent: XS-SML

Item# DD4352

Reference Photos: Spring 1964 James Galanos Couture Runway.

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3612

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

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD4350

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

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

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

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

The body of the dress is fully lined in a coral silk chiffon. The sleeves are unlined and the lining ends just above the knees. It closes with a hidden set side zipper and you can also adjust the front with the laces. Tagged a 42. The loose and easy cut should work on a range of sizes. On a smaller frame it will just feel more like a caftan

Sleeves: approx 25" to their longest points
Shoulders: no true defines seam
Bust: 17-20" flat across from side seam to side seam
Elastic waist: 14-20" flat across from side seam to side seam
Inner hips: to 23" flat across from side seam to side seam
Length: 58" from the shoulder to the front hem, 60" to the back

Modern Sizing Equivalent: SML-LRG

Item# DD4348

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

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

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

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

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

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

Modern Sizing Equivalent: XS-MED

Item# DD4346

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD4341

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3701

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD4336

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

A version of this jacket was shown on the runway with a matching skirt for Look 5 as seen on the Fall 2002 Tom Ford for Yves Saint Laurent runway. The Vogue review of that collection stated in part: 'Tom Ford is very, very good at being wicked. The designer was in an adult-erotic frame of mind at Yves Saint Laurent, taking potential clichés such as black satin ribbon, taffeta, velvet, chantilly lace and fur and applying them in an offhand way to extravagant, body-emphasizing pieces that often looked as if they might fall off at the slightest pull of a bow. What, after all, could be more provocative than a woman wearing expensive clothes that look as if they were made to be undone by a lover? ... The show was full of amazingly detailed, sexily cut suits, fabulous coats and sweeping evening gowns delicately inserted with lace.' Ford's work for the Gucci and YSL label during this period has now reached cult-like status and this pant suit is an incredible example of what he was doing to make it that way. 

This is a stunning suit. It fully has the feel of the runway that season and is a classic piece that defines Tom Ford time at the label. Both pieces are made from a black wool cashmere mix that is trimmed with deep black velvet. The construction is immaculate. The shoulders of the jacket are slightly sloped but still shaped with light padding. The sleeves are incredible. They are cut on a curve with no seam at the elbow which is in the proper and traditional tailoring method. Along the inner edge there is strip of velvet and the sleeves are gathered in towards that. This creates a gather all the way down the arm and it is fabulous. The body of the jacket is cut as precisely. It skims over the bust and nips in at the waist and then flares back out over the top of the hips. There is a neat flap pocket on each hip and another pocket on the breast. The collar takes a play from a men's tuxedo and is finished in velvet. The front is gathered slightly down the front like the sleeve detailing is. Two carved button close the front and I love the ribbon detail that follows along all the seams. Each sleeve has four more of the buttons. The pants are equally as fabulous. They are banded around the waist and are cut to sit slightly low on the hip. There is a sharp fold running down the front and back of the pants. The lower half of the pant leg flares out a touch and this gives them a long and beautiful line on the body. Slant pockets on each hip and button slit pockets at the back. This is a remarkable example of his skills as a tailor and his time at YSL. Excellent condition

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

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

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

Modern Sizing Equivalent: XS-SML

Item# DD4337

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

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

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

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

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

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

Modern Sizing Equivalent: XS-MED

Item# DD4338

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD4335

Reference Photo: Spring 1989 Bob Mackie Runway.

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD4334

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

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

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

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

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

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

Modern Sizing Equivalent: XXS-MED

Item# DD4333

Reference Photo: Halston Made to Order Spring 1977 Runway.

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