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

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

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

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

Modern Sizing Equivalent: XS-SML

Item# DD4330

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

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

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

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

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

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

Modern Sizing Equivalent: XS-MED

Item# DD4328

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

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

Vogue said of the Spring 2013 Emilio Pucci presentation; "When Peter Dundas inherited this historic Florentine house—famous since the 1960s for its kaleidoscopic prints—he made reworked archival patterns a major part of his story line. Last season and this one, though, he's started inching away from them. These days, the label is just as well known for Dundas' confident, louche brand of glamour as it once was for its founder's graphic swirls and geometries." Beyond this collection had many solid pieces as well including this dress who's twin was look 41 of the show. It was one of three white dresses that close the show before the final red look. It's a gorgeous dress it might even make an amazing wedding dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. And of course it could also be worn to any event.

The dress is made out of a stunning light silk that is light in weight but just heavy enough to keep the structure. It is very close to a true white. It is so simple in it's cut but is so chic and elegant once it is on the body. It feels very much like a Peter Dundas piece. The front neckline is done in a halter style with the upper part above the bust line finished an a white netting that has a secondary abstract print work through it. This allows you to see the skin underneath. The front is gathered over the breasts almost like a bandeau and seamed in the center. Under that is an open cut out for a bit more skin to show. The dress curves in to follow the waist under that and and skims over the hips. The skirt falls to the floor and widens out quite a bit as it nears the hem. This gives the dress incredible movement when you walk and you get a sense of that in the runway video. I love the loose slightly draped pockets that sit on each hip. The back is mostly open with a criss cross of straps and an open cut out between the waist and the back strap. Decorative frog knots sit at he low waist fort added detail. Once on this fits and hugs your curves in the best possible way. It come with its original tags attached. Excellent condition

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

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

Modern Sizing Equivalent: SML-MED

Item# DD4325

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

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

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

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

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

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

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

Modern Sizing Equivalent: XS-SML

Item# DD4326

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

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

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

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

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

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

Modern Sizing Equivalent: XXS-XS

Item# DD4321

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

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

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

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

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

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

Modern Sizing Equivalent: MED-LRG

Item# DD4317

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

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

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

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

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

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

Modern Sizing Equivalent: XS-SML

Item# DD3491

Reference Photo: (1) Model in Thea Porter, 1969. Photo courtesy of Laura McLaws Helms.  /  (2) 1969 Thea Porter Runway.

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3682

Reference Photos: Fall 1974 Yves Saint Laurent Haute Couture.

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

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

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

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

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

Modern Sizing Equivalent: XS-SML

Item# DD4308

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

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

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

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

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

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

Modern Sizing Equivalent: XS-MED

Item# DD4310

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD4307

Reference Photo: Spring 1974 Lanvin Runway.

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD4306

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

Bill Gibb was one of the most influential designers in 1970s Britain and his clothes were sought out and worn by the rich and famous. His work always has a high fantasy element to it and he was crowned Designer of the Year in 1970. Much of his work verged on couture and he was unrelenting in striving for perfection. Every piece I bring into the shop that was made by him is very special and this one is no exception. Bill had a great fondness for history and looked globally for his inspiration. This set pays homage to Asian culture and I love how he combined the traditional cherry blossom print with English roses. It is gorgeous.

I love that you can wear this set together or as separates to extend their wear. It is absolutely gorgeous either way. The skirt is made from two long panels that are attached along the waist band and part way down each side. This creates this wonderful line from the hip to the hem. It is seamed down each side to just past the hips and then below that it is completely open. When you move or sit you get this long flash of legs all the way up. It is almost scandalous for its time period. The jacket is cut with more of an oversized feel. The front has no closures. You just slip it on and go. The top of the collar flares out for a bit of detail and the sleeves are cut wide and full. The jacket is detailed with black flat braiding that highlights the cut and adds detailing. More braiding runs along the edges of the skirt. The fabric is a beautiful red silk with little cherry blossoms and English roses woven through it in a slightly metallic finished thread. This is one of those pieces that in person and on an actual body it is even better then how it looks on my dress form. Excellent condition with a minor note below

Both pieces are fully lined in a red silk. The skirt closes with a metal and nylon zipper. The jacket has no closures and slips on to wear. I see a tiny touch of foxing on the side of the skirt, a tiny pen mark on the front of the jacket and some slight lines running up the satin on one sleeve. Please see the photos after the label shot. All these are very minor. Tagged a vintage UK 8. You might be able to add a little extension at the waist to get a bit more room if needed

Jacket
Sleeves: 24.5
Shoulders: 15" across
Bust: to 16" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 19.5" flat across from side seam to side seam
Length: 13" from neck to hem

Skirt
Waist: 11.5" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 43" from neck to hem
Slits: 20" from hem up

Modern Sizing Equivalent: XXS-XS

Item# DD3436

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.

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD4305

Reference Photo: Fall 1982 Arnold Scaasi.

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

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

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

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

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

Modern Sizing Equivalent: MED-LRG

Item# DD4302

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD4298

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

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

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

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

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

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

Modern Sizing Equivalent: XS-MED

Item# DD4300

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

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

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

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

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

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

Modern Sizing Equivalent: SML-LRG

Item# DD4294

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD4291

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD4287

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD4288

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item#  DD4286

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD4281

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

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

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

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

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

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

Modern Sizing Equivalent: XS-MED

Item# DD4279

Reference Photos: Fall 1977 Yves Saint Laurent Runway.

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD4274

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

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

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD4268

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

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

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

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

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

Hips: open
Length: 37.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# S990

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

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD4261

Reference Photos/Video: Fall 2000 Givenchy Couture.

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD4262

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

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

This is an incredible example of Karl Lagerfeld's Haute Couture work. I am so glad this was a runway piece because it was almost impossible to photo correctly on the dress form. The elaborate sleeves that you see coming out from under the jacket are actually separate pieces altogether. You can see on the runway shots how beautifully they sit on an actual arm. My client opted for a more sleek jacket that did not take her in it at the waist as much as the runway look did and a more classic trouser. If you preferred that cinched in waist look you could easily belt the jacket. The simpler silhouette of this jacket allows for more versatility and styling. Sarah Mower said on her review of the show that; ‘It was pure Chanel, crystallized to a point of perfection only witnessed in haute couture…. Karl Lagerfeld began this mostly black-and-white collection with a new treatment of the Chanel suit…. These were paired with flat white go-go boots, which were not referenced from the sixties, but from a pair Coco (always ahead of her time) was wearing in a photograph from the decade before. That allusion and others demonstrate just how deftly Lagerfeld—Chanel historian par excellence—marshals his knowledge. He sprinkles the camellias, the satin bows, the organdy collars, and the bound edges so lightly that they become playful thrills—not belabored underscorings of theme or "brand identity."…. Lagerfeld reinvents the house signatures to pique the fantasies of today's young woman—and that he does just beautifully.’ 

The lines of this suit are crisp and sharp and the tailoring is immaculate. This is sharply contrasted with the dandified collar and arm pieces. It is incredible to have the full suit. This set includes the jacket, pants, inner top, collar and both arm pieces. The suit is made from a fine black wool that is light in weight and has a slight texture. It is just heavy enough to hold the shape beautifully. The jacket is cut to have a slight oversize feel through the body. The shoulders are shaped and the sleeves fall to just past the elbow. There is no collar. The neckline comes down the front in a simple V and then it zips to close down the remainder of the front. Two sleek little pockets are stacked on top of each other on either side of the waist for some detailing. It is cut to be more straight through the body and then flares out slightly at the hem, falling to just past the hip. The pants are classic and simple in their cut. They are flat fronted and cut to taper down to the ankles. A sharp fold runs down the front and the back of each leg. The inside of the suit is as immaculate as the outside and it is entirely made by hand. Every stitch is perfection. Under that goes a little sleeveless ivory silk top with a small neat collar. The top is easy fitting through the body. The top three buttons are finished with rhinestones and enamel and then the rest of the buttons are hidden under a flap of silk. Three additional pieces come with the suit. The first is a detachable silk organdy collar that goes around the neck and adds a romantic flounce with a large soft bow and ties. This gives the suit an unexpected touch of drama. Next is a pair of detachable sleeves. The sleeves are also made out of the same silk organdy as the collar and slip on the lower arm. Both those and the collar have a nod to the regency era when this type of sleeve and collar were all the rage. The sleeves are finished with a row of those beautiful buttons and the ends are ruffled. Every piece has been entirely made by hand and all the proper Chanel couture labels and numbered tapes are present. I love that with this one set you have so many pieces to mix and match with other things you own. It allows you to be able to sprinkle a bit of vintage Haute Couture throughout your wardrobe. This is a rare opportunity to own a piece of true couture by one of the most important designers of our lifetime. Excellent condition with a minor note below. 

The jacket and pants are hand lined in a fine black silk. The jacket closes with a hidden zipper under the front panel of fabric. The pockets appear to be functional and all four still have their original tacking in place. The pants zip to close with a hidden set side zipper. The toppings to close at the front. The collar snaps into place and the sleeves slip onto the arm with functional buttons running down the cuffs. The edges of the collar and cuffs have intentional raw edges. I see one small area of breakage in the silk on the edge of one cuff. Please see the photo after all of the label shots. I see one rhinestone missing off one button on each cuff and one on the top. All of the pieces are made and finished by hand to couture standards. Proper couture labels present with couture tape are present on all pieces but the sleeves. Sourced from the original couture client 

Jacket
Sleeves: 18"
Shoulders: 15.5"
Bust: to 19" flat across from side seam to side seam
Waist: to 16" flat across from side seam to side seam
Hips: to 22.5" flat across from side seam to side seam
Length: 34.5" from neck to head 

Pant
Waist: 15.5" flat across from side seam to side seam
Hips: 20.5" flat across from side seam to side seam
Length: 39" from waist to hem with 1.5" turned under
Inseam: 28.5" from inner seam to hem
Rise: 15.5" from back waist to inner seam

Top
Bust: to 20" flat across from side seam to side seam
Waist: to 19" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 24" from neck to head 

Collar
14" around and the snaps could be adjusted up or down a bit if needed

Cuffs
Length: 13" including the extended cuff, 9" without
10" around the upper edge and narrows to 7" around the wrist

Modern Sizing Equivalent: SML-MED

Item# DD4263

Reference Photos/Video: Spring 2006 Chanel Couture Runway, Look 9. Model: Svetlana.

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

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

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

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

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

Modern Sizing Equivalent: XS-SML

Item# DD4259

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

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

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

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

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

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

Modern Sizing Equivalent: SML-LRG

Item# DD4258

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD4257

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

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

This fabulous dress is the twin of the dress that walked the Spring 1986 Yves Saint Laurent Rive Gauche runway. I was so pleased to find some shots of it on because it really shows you just how much it comes to life when worn. On the runway Yves put a short curved cropped bolero over it for part of the walk. An interesting thing to note about this dress is that it is a version of the 1973 plunge dress that I have shared on my Instagram in the past. This one has different detailing at the waist and a fuller skirt. I always find it interesting to see how Yves revisited ideas throughout his career. I love having such a well documented piece in the shop and it doesn't hurt that it is drop dead gorgeous.

This is a dress that is insanely sexy and bare feeling and yet the black colour and minimal lines keep it feeling fresh. The dress is made out of a black silk jersey that has amazing drape and feels easy-to-wear once on the body. The bodice has a halter style front that plunges right to the waist. The sides are also left open and bare to the waist and then there is a last final deep plunge at the back that leaves most of the back bare. Despite its bareness it is cleverly cut so that when you have it on it stays perfectly in place. The waist has a wide band of the same fabric that has been gathered in two horizontal stacked on top of each other. This  banded detailing sits just under the base of the plunge. Under that the skirt flows to the floor in a sweep of silk jersey. There is a tremendous amount of fabric in the skirt and this gives the skirt beautiful movement when you move. It is stunning and a dress you can wear in many different ways, on its own, with things layered over it, or under. Excellent condition with a minor note below

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

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

Modern Sizing Equivalent: XS-SML

Item# DD4255

Reference Photos: Spring 1986 Yves Saint Laurent Runway.

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

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

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

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

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

Modern Sizing Equivalent: SML-LRG

Item# DD4253

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

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

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

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

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

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

Modern Sizing Equivalent: SML-XL

Item# DD4255

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

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# S987

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

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

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

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

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

Modern Sizing Equivalent:  XS-SML

Item# DD4252

Reference Photo/Video: Spring 2012 Christian Dior Runway, Look 45.

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

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

This is a very pretty and easy to wear Christian Dior dress from the Marc Bohan years. It is a wonderful example of the work being done for day wear during this time period.  It is also address that is fabulously documented. It was photo for L'Officiel that season and was part of the press package prior to the collection release. You can see in those photos that there were three versions of this dress made of this look.

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

Unlined and slips on to wear. You can adjust the elastic at the front of the bodice and also the tie through the waist. I see a tiny bit of fading to the fabric near one arm. It's very light but mentioning for accuracy. Please see the photo after the label shot. The easy cut and adjustable fit should allow it to fit on a range of sizes

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

Modern Sizing Equivalent: SML-LRG

Item# DD4248

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD4246

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

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

This is an extraordinarily rare example of the work that Ossie Clark and Celia Birtwell were doing together in the very early 1970s. What makes this dress unusual is that it features one of Celia's prints but the print has been embroidered onto the dress rather than screened like they normally are. There is a even more elaborate version of the dress in the Ossie Clark book that I have shared here for dating reference. I have seen long versions with the embroidery on them come up for sale but those only have a small amount of detail on the bodice usually. This is the only one I've seen with this amount of extensive embroidery on it. It is utterly fantastic.

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

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

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

Modern Sizing Equivalent: XXS-XS

Item# DD4244

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

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

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

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

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

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

Modern Sizing Equivalent: XS-SML

Item# DD4242

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

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

John Galliano went from Givenchy to Dior in October of 1996 and stayed there until he was dismissed in February of 2011. During John Galliano's years at the house of Christian Dior he arguably produced some of the most amazing bias cut dresses in the house's history. His work, especially the bias cut pieces that he did, have a feeling of the decadence and abandonment of the twenties and they are beautifully cut. They marry Old Hollywood with the minimalist spirit of the nineties and early 2000s and the results are stunning. This is an amazing example of his work from the Boutique line and it is gorgeous

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

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

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

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

Scarf
Width: 106"
Height: 26"

Modern Sizing Equivalent: XS-MED

Item# DD4238

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD4234

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

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

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

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

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

Bust: to 16" flat across from side seam to side seam with an A-B cup
Inner waist: 14-15.5" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Bodice: 9" from top of bodice to inner waist
Length: 35.5" from top of bodice to hem

Modern Sizing Equivalent: XS-MED

Item# DD4235

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

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