This is a very chic late 1970s Christian Dior dress from the Marc Bohan years. It is a wonderful example of the work being done during this time period and shows the restraint that the label could have when it delved into minimalism. It is a very easy and comfortable dress to wear. Don't let the simplicity of it fool you. This is a dream to wear and the simple lines are offset  by the high quality silk and the ease and beauty it has once on.

The dress is made from a black silk that drapes beautifully over the body. The bodice has an almost squared off feel to it with a straight across neckline at both the back and the front. Circling the entire top of the bodice is a panel that falls from the upper edge. This floats over the bust and if you cinch on the waist like I did it creates this beautiful line. You can also wear it without adding anything around the natural waist and it has a more skimming over the body feel to it. Underneath that panel the inner bodice is cut to skim over the bust and then it widens out slightly as it nears the waist line. The waist seam is dropped low to just about the top of the hips. This play on proportion gives the dress a touch of an unusual feel but without needing anything extra in terms of ornamentation. Adding a low slung belt at this seam would give the dress yet another look to it. At the back it stays as simple as the front. The skirt is set into the dropped waist seam in a series of small soft gathers and this gives it the ability to softly move around you when you move. The label on the set is numbered and when you see that in a Dior Boutique label it most often meant that the piece was a special order or was a custom made order for a client in the atelier but fitted at the boutique store rather then in Paris. This is a dress that you just slip on and it is perfect for day or evening. The different ways that you can wear help to extend its life and let you wear it more. You can see the hand work throughout and it is beautifully made. Excellent condition.  

Unlined and weighs ounces. It closes with a side set zipper. It looks to have been worn very little if at all. The ribbon at the waist in the photos is not original bit will be included. 

Bust: to 18" flat across from side seam to side seam
Natural waist: to 16" flat across from side seam to side seam
Dropped waist seam: to 15" flat across from side seam to side seam
Natural hips: to 15" flat across from side seam to side seam
Bodice: 17" from top of shoulder to dropped seam
Skirt: 41" from waist to hem.

Modern Sizing Equivalent: SML-MED

Item# DD4108

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

Fall 1983 marked the first fall ready-to-wear collection that Karl did for the label. So any piece from this first year is now a part of fashion history. This first year was instrumental to what Chanel was to become as a brand. He pulled inspiration from the twenties and thirties, something he continued to do throughout his career, and mixed it with that classic Chanel feel. He said at the time 'Even if she never did it this way, it’s very Chanel, no?'.... We were very excited to find the reference shot included here that has a variation of this dress made in a black lace. Documentation on these early collections is rare. It is absolutely gorgeous in person

This Chanel dress is so good. It is also a rare piece from Karl's first year at Chanel which adds to its collectability. The cut of the dress is timeless. The dress is made from a layers of black bias cut chiffon. The layers float over each other and play on transparency of the fabric. The bias cut makes it incredibly comfortable once on the body. The fabric is light in weight but with enough substance to hold the that wonderful curved shape that you see. The bodice skims over you and has a V neckline. The neckline is edged in a black satin ribbon. I love the little bow that sits at the base of the V for a very Chanel feel. The back is also dips into a V but there it is cut shallow and wide so that it sits higher up on the back of the neck. Attached to the ribbon edging of the neckline is a silk chiffon caplet that cascades all the way around you. It falls over each arm and drapes down the back to the waist. When you move even the slightest it moves with you for a pretty effect. The waist is seamed and cinched. The skirt falls under that and is cut to follow the curve of the hips. I love the little slant pockets that edged in the same black silk ribbon. These sit on each side of the hip. At about the knee the skirt flares out in a dramatic expanse of silk chiffon. More silk ribbon is set to separate the lower skirt and this last bottom part flares out and around you. It has a more transparent feel to it since it is only layers of chiffon.  When you walk the movement it creates is incredible. The final perfect touch are the little satin covered buttons that run all the way down the back and the final flat little flat blow at the base of the ribbon detailing. Beautifully constructed and it looks to have been worn very little if at all. It is an amazing example of Karl's very earliest work for Chanel. Excellent condition

Fully lined in a matching black silk chiffon and it buttons to close at the back. It is tagged a Chanel 42. I see a repair along the hem. The bias cut fabric does have some give between the ribbons.

Bust: to 17.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: 17.5" flat across from side seam to side seam
Bodice: 17" from top of shoulder to waist, and does come up a bit once on
Skirt: 41" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3867

Reference Photo: Fall 1983 Chanel.

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 Fall 2003 Chanel collection began with inspiration from the work of painter Kasimir Malevich. In Vogue's review of the collection Sarah Mower stated in part that; 'Lagerfeld mixed things up with his usual polymath flair... The decorative vibe ran through the collection.... In other words, all the usual playfulness of Chanel ready-to-wear was there, done with a light-handed touch that underscored Coco's legacy of flexibility—and fun— in the reign of King Karl." This is a wonderful example of his work from this time period and it is so versatile with the two pieces as you can wear them together or mix and match with other pieces you already own.

The dress set is stunning. It has an easy, sexy feel to it that I love. It is actually a set made up of two separate pieces. The inner dress is made from a fine high end black silk. It is suspended from the shoulders by two little silk straps. The bodice is cut to skim over you and the back dips into a low V. The seam at the waist that is set on a pretty inverted curve for a bit of a play on the twenties, a theme he often touched on. The skirt falls from there, skims over the hips and widens out as it nears the hem. The hem is cut on that same inverted curve as the waist seam at the front and then the back sweeps down into a longer slightly point hem that mirrors the dip on the back. Over that goes the top chiffon piece. This top piece is so well made that you can easily wear it to the back or to the front. I have included photos of it both ways for you. The top layer slips on and buttons into place with a row of glossy black buttons. It has that same  hemline as the under dress with one side set on a curve and the other ending in a point. Depending on which way you wear it you get a totally different feel when it is layered over the inner piece. Both the dress and its matching are edged in a black fur. The lightness of the silk give it beautiful movement once on the body. My photos do not come close to doing it full justice. Excellent condition.

Both piece are unlined. The inner dress closes with a hidden set back zipper and the over lay closes with buttons. Tagged a Chanel 40. It appears to have been worn very little if at all.

Inner Dress
Bust: 16.5" flat across from side seam to side seam
Waist: to 14.5" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Bodice: 16" from top of shoulders to the waist
Skirt: 28" from waist to front hem, 41" to longest point on hem

Overlay
Bust: 17" flat across from side seam to side seam
Waist: 16.5" flat across from side seam to side seam
Hips: 23" flat across from side seam to side seam
Bodice: 15" from top of shoulder to waist
Skirt: 35" from waist to longest point of the hem

Modern Sizing Equivalent: XS-SML

Item# DD3868

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

This is a stunning Halston that is very rare and very special. I have had it in my archives for a long time and for some reason it feels like it is the time to let it go. That season Halston did a series of pieces using this pleated silk jersey. This was a runway piece and we've included the runway shot here. It is also interesting to note that they looked to have added a belt on the dress to style it for the show. I love when you can see how the designer intended it to be styled. At this point in his career pieces would have been made in very limited quantities. That alone makes this dress that much more special never mind to have runway documentation. It is an incredible example of his work from this time period. And it is a killer dress.

The dress is made from a light weight silk that has tiny pleat work throughout. Like most of his best work its design is simple yet impactful. As in many of his pieces his genius lies in the ability to use the least possible amount of seams yet he still manages to create the most stunning lines. The dress wraps around and is secured through the inner waist with snaps and hooks to keep it in place. The waist has elastic running through it that gives it this incredible ease once it is on the body. The front plunges into a low V and there is a tiny snap to hold it more securely in place. I did not use it for these photos but if you wanted a plunge that was a little less extremely you could close it a bit more with this snap. It skims over the bodice and comes in at the waist. You could add a belt if you wanted more shape or wear it as it is. The skirt wraps below that and falls in a cascade of the silk. The pleating gives it a little movement so that it moves wonderfully when you walk and the wrap allows a touch of leg to show when you move or sit. The sleeves are the star of the show on this dress. They are cut extra long and on a curve. They come in at the wrist where they snap to close and pouf and balloon fantastically above that. On my dress form they hang low but you can see in that glimpse of a shot how they billow around the arm and wrist once they are actually on. It is an incredible dress and like many of his pieces it truly will only come to life once there is a body in it. It is remarkable and a true piece of fashion history. 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

Unlined and wraps around you to close. It hooks and snaps in places around the waist. The waist is elastic so there is give there. You could also get less of more room by moving some of the hooks inside if needed. The range given below is the comfortable range where they are now. Each cuff has hidden set snaps to close and there is a bit of room to move those as well. I have put XS-MED and with some moving of the inner hooks / snaps it would probably work on a larger frame as well

Sleeves: 30" but will come up once on
Shoulders: no defined seams
Bust: open on the sides and will accommodate from 15-19" flat " flat across from side seam to side seam
Waist: 11-16" flat across from side seam to side seam
Hips: open
Bodice: 15-16" from top of bodice to waist
Skirt: 40" from waist to hem

Modern Sizing Equivalent: XS-MED

Item# DD4106

Reference Photos: (1) Spring 1978 Halston Runway.  /  (2-4) Halston Spring 1978 Ready to Wear Advance.

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

Toni Scervino and Ermanno Daelli founded the Ermanno Scervino label in 2000 and had their first official show in Milan in 2003. Since that debut they have added menswear, a junior line, swimwear and accessories. They now have 50 stores around the world and also sell in high end boutiques. They are a red carpet regular. A red version of this dress was worn that season by Elsa Hosk to AmFar, while Kat Graham wore one in a yellow to the Venice film festival. This one in a bright pink is as equally stunning as either of those and I love it. It is gorgeous.

It is easy to see why this was a red carpet favourite. It is absolutely stunning and so flattering. I love having reference photos of it so that you can see just how great it is on. It has all the flounce and drama of a full on gown but it is as light as a feather. This dress is absolutely dreamy. It is made out of a bright pink coloured silk chiffon. It is strapless and the upper bodice has a soft rounded shape to it. The silk is draped over the bust in soft folds that run down to the waist. Inside it is cupped and shaped for support with a full inner corset. That stunning colour combined with the soft gathers creates the most gorgeous effect. Inside and under that is a shorter skirt that is finished in a pink lace. This gives you a little extra coverage under the sheer layer of the  top skirt. The outer skirt has a ton of volume to it that shows best when you move. It is made out of a cascade of silk chiffon that is gathered and shaped around the hips to give a bit of a hip pannier or bustle effect. It is set longer at the back then the front so that you get this pretty curve from the side view and this fantastic sweep of skirts from the back. The entire skirt is a single layer of the silk chiffon and this gives it a touch of transparency. The lightness of the silk keeps it from looking bulky. It is the best of both worlds. You get the drama and sweep of fabric with the volume it has but it is as light as a feather to wear. When this is on and you are walking the effect that this creates is absolutely gorgeous. The final perfect detail is that slit that runs up one side of the skirt. That flash of skin it gives and the peak of the lace on the underskirt is the perfect detail that make it feel sexy, romance and feminine all at once. It is a tremendously beautiful dress. Excellent condition

The inner bodice has a full cupped and boned corset that closes with its own hook and eye. The skirt is unlined and the dress zips to close at the back. The buttons at the back are decorative only. It looks to have never been worn or worn very little. Tagged a modern 42. The inner corset has some give and that is reflected in the measurements below for the bust and waist

Bust: 15-17" flat across from side seam to side seam with about a B cup
Waist: 12-14" flat across from side seam to side seam
Inner hips: to 22" flat across from side seam to side seam
Bodice: 9" from top of bodice to waist
Inner skirt: 14.5" from waist to hem
Out skirt has uneven lengths: 38" from waist to shortest part of hem, 50" to the longest

Modern Sizing Equivalent: SML-MED

Item# DD4097

Reference Photos/Videos: (1) Spring 2018 Ermanno Scervino Runway, Look 5. Model: Dilone.  /  (2-6)  Elsa Hosk in Ermanno Scervino at the 2018 amfAR Gala at Cannes Film Festival.  /  (7-9) Kat Graham in Ermanno Scervino at the 2019 Venice Film Festival.  /  (10-13) Unknown on model shots.

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. There were more sober options in black, with strands of jet beading moving over dark georgette' This is the twin of the dress shown on the runway and worn by Karen Elson. It has a gorgeous twenties inspired feel and sense of sensuality once on the body.

This dress is not 100% perfect but it is completely wearable as is. If it were perfect it would be double the price it is set at. 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 jersey in the lightest possible shade of a ballet pink. When you move in it the air around you picks up the jersey and it has the most beautiful movement. 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 straps that curve over your shoulders. The center dips down into a very low V and a panel of jersey drapes over the bodice on both sides. At the back the dress is cut to plunge low with panels of jersey set along the edges of the plunge. These move 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. There are horizontal seams that run across the top sides of the hips. These dip down in a curve when on the body and a diamond is shaped between them at the front. The dress skims over you to meet the lowers skirts. The skirt is made from two layers of the fabric and cut longer at the center of the front and back. 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 and yet so refined. It is just amazing and even better in person. It presents as excellent condition but please review the notes below

The layering of the fabric act as the lining. No closures, it just slips over the head to wear. The bias cut and stretch to the fabric should allow it to fit a range of sizes. I see two tiny burn marks on the inside edge of the neckline and one mark on the skirt. There is a little cut out on one hip and a tiny hole in the skirt. Light snagging around the hip area and a repair to the point of the skirt. All individually are very tiny flaws and when on the dress presents perfectly. Please see the shots after the label shot. The fabric has stretch and the measurements below are of it laying flat and at a comfortable range.

Bust: 16-20" flat across from side seam to side seam
Waist: 12.5-15" flat across from side seam to side seam
Hips: open
Length: 52" from top of shoulders shortest part of the front hem, 62" to longest point

Modern Sizing Equivalent: XS-MED

Item# DD4098

Reference Photos/Video: (1-4) Spring 2004 Yves Saint Laurent Runway, Look 12. Model: Karen Elson.  /  (5) Kate Beckinsale at the 2004 Vanity Fair Oscar Party .

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

Guy Laroche began working for Jean Desses in 1949 and eventually launched his own Haute Couture label in 1957 as a full member of the Chambre Syndicale de la Mode Parisienne.  He became known for his color sense and the young, sexy look of his clothes. In 1985 he won the Haute Couture Golden Thimble award and two years later he was awarded the insignia of Chevalier de L’Ordre de la Legion d’Honneur. His second Golden Thimble was given posthumously after his death in 1989. This dress is original Laroche and it is a beautiful example of the work he was doing in Couture. Laroche once was quoted as saying “It is my intention to try and adapt haute couture to modern requirements: to make dresses that are simple and chic.”

This is a spectacular example of his work and a simply beautiful dress in its own right. It was lent to Hannah Bronfman and I love that you can see just how gorgeous it is on her. It is also the actual runway sample and has a written tag identifying it as such. Carla is also written on it and I suspect that it may have been Carla Bruni who wore this one as she often modeled for him. I hope one day to find its runway photo and will send it to the new owner when I do.

This is a dress that makes you draw in your breath the first time that you see it. The dress is made out of a very fine silk chiffon that is printed with a stunning floral print in a colour that lies partway between a red and a pink. The dress is strapless and the bodice is covered with hand draped silk that is gathered in towards the center and secured with a little silk piping in the same fabric. The dress falls to the floor from there and the fabric that makes up the front part of the dress is incredible. It is the same silk as the back and bodice but is has been gathered and hand sewn onto a puffed fabric. This gives it this incredible texture. The print is the exact same but has a completely different look when it is gathered like that. There is this incredible contrast between the gathered silk and the silk that is not treated in this manner. The puffed fabric has beautiful movement and drape. It falls softly over the inner lining and moves with you when you move. The back of the dress is finished in an almost cape like detail and it is spectacular. It falls outwards from the top edge and he attached it down the sides so that it still billows out behind you when you move but falls in a stunning column when you stand still. There are two very long panels of fabric that run down on either side of the zipper at the back. These are attached along the top and are extended from the front bodice. You can use them to style the dress several different ways. I have photoed a few that I came up with and you could probably come up with even more. I love that it gives you options and extends the wearability of the dress. There are endless couture level details put into this one and the workmanship throughout is perfectly and meticulously done. It is an amazing example of the fine workmanship and attention to detail of Haute Couture and it is a true piece of fashion history. Excellent condition with one minor note below

The dress is fully lined in an ivory silk. There is a full built in and boned corset in the bodice. This is the original runway sample and it has its hand written and numbered tag present. Hand finished to couture standard throughout. It closes with a hand set, back zipper. I see a tiny bit of wear the silk at the edge of the top of the zipper. Please see the photo after the label shot

Bust: 16.5" flat across from side seam to side seam with a A-B cup
Inner waist: 13" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 54" from top of bodice to front hem, 58" to the back hem

Modern Sizing Equivalent: XS-SML

Item#cDD4099

Reference Photos: Hannah Bronfman in this 1982 Guy Laroche styled by Sarah Slutsky.

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 think at this point in time everyone pretty much recognizes certain Celine pieces from the Phoebe Philo days and this red jersey dress is one. This was Look 23 in the Pre-Fall 2017 show. This show is interesting as it is the one where Phoebe went completely silent. She offered no press quotes, gave no background on her inspiration and was not present at the press previews. It drove the press mad but her loyal fans loved here even more for it. Her work has spoken for itself ever since and still garners the same devotion, if not more.

 This is one of the easiest dresses to wear that has ever existed. You just slip it over the head and then adjust it with the tie at the dropped waist seam and walk out the door. That tie that runs through the seam around the hop allows you to wear it low and loose or you can cinch it in and wear it higher up on the waist and have the top blouse over. The jersey is fantastic and the red is one that should work on most skin tones. The neckline is detailed with a small strip of red leather that circle around the the neckline and down the front to the waist seam. It is studded with silver studs for the subtlest of details. It falls loose and easy over the body and the skirt has yards and yards of fabric. Besides wearign it this way you could also wear it the other way around. And it has pockets. This is the genius of Phoebe where she manages to have something be so perfectly simple and easy and yet have so much drama at the same time. I love it. Excellent condition 

Unlined and slips on to wear. Adjust with the tie at the waist seam. Tagged a 36 but very generous in cut. The jersey has stretch. It appears to have been worn very little if at all. It should fit a wide range of sizes

Bust: 15-23" flat across from side seam to side seam
Waist-hips: open and adjustable
Bodice: 19" from top of bodice to waist
Skirt: 35" from waist to longest point of hem
Total length: 54" and it will hang a little longer on a smaller frame

Modern Sizing Equivalent: SML-LRG

Item# DD4095

Reference Photo: Pre-Fall 2017 Celine Collection, Look 23.

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

Marc Vaughan is one of the lesser know Couturiers that launched his label in 1953 and then re-named it in his own name the year after. He began solely as a couturier and in 1957 expanded to offer a pret-a-porter line. He concentrated on the European market in the early days only expanding into America in 1963 where his work was sold in New York through the Hattie Carnegie House. In 1966, the year that this set is from he 'used and grouped together the cubes, the pyramids, the squares, the rectangles, the obelisks ... He created there his most authentic creation based on angular forms inspired by the eye of a geometer.' This is also the collection where he showcased his cubic pants, pants that are seamed like these are so that they fall in a more square shape around the leg. We found a photo of a similar pant to this one and we were also able to find one reference photo of a similar set to this. I like this one with its stark silver contrast even better. It is just exceptional and you will never see another.

This is a fabulous set that is truly something you will only ever find in vintage. It showcases perfectly that mod feeling of the mid-sixties while also representing the extravagances of couture during this time period. The set is two pieces, a metallic silver pant and a tunic with open sides. The tunic is a masterpiece and I love the fabric. It combined and embroidered black and silver thread on a white silk organza. Each of those black and silver designs that you see are individually added to the base and have a 3D feel to them as they sit on the fabric. Big silver flowers are added over the tunic and each is secured in place by more of the silver thread. It runs straight down and over the body at the front and the back and then the two sides are attached with four wide bands of silver lame. It is open down the sides between the bands. The tunic is just long enough that you could wear it as a dress if you dared which adds another element to its wearability. You could also layer it over other things to get more looks. This tops a pair of silver lame pants and the fabric is an early version of it. It is more like fabric that has been coated with silver then the lame we are more used to now. These are cut with that amazing seaming that lets them sit in a box shape around the outer leg. They are simple in cut with a high waist and flat front. It is quite genius and a gorgeous set that illustrates the leaps and bounds that couture was taking during this time period. Excellent condition with minor notes below.

The top is lined in a silk organza and the pants are lined in a lingerie weight netting. The tunic closes with a back zipper and the pants also zip to close. There is some minor wear on the pants. I see slight rubbing of the silver in the edges of the waistband and there is minor discoloration to the inner lining. The inside lining of the tunic shows some grubbiness and the edges of the silver have the same very minor rubbing here and there. It presents perfectly when on.

Tunic
Bust: 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: 28" from top of shoulder to hem

Pants
Waist: 12" flat across from side seam to side seam
Hips: 17.5" flat across from side seam to side seam
Length: 39.75" from top of bodice to waist
Inseam: 29.5" from waist to hem
Gusset: 13.5"

Modern Sizing Equivalent: XXS-XS

Item# DD4093

Reference Photo: Model wearing Marc Vaughan Couture, 1966.

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

Huishan Zhang was launched in 2012 and his label has garnered a loyal following. He studied at Central Saint Martins College and worked at the Dior's Haute Couture Atelier during his 3rd year. In 2014 and again in 2015, Huishan was named the BOF 500 as one of the people shaping the Global Fashion Industry. He was also awarded the International Chinese Designer of the Year at the Elle China Style Awards in 2014. In 2015, he was a finalist for the LVMH Prize and in 2017 he was a nominee for the Vogue Fashion Fund. He is a bright and talented designer sure to do even more great things and I am very pleased to have this stunning piece by him on the shop.

The film Sabrina, starring Audrey Hepburn, was the central inspiration for the show mixed with couture ideas of the past. This was one of the strongest looks of the show and part of the closing line-up. The dress is easy to wear yet packs a tin of impact. It is cut in a loose and easy caftan feeling shape that skims over the body in a loose and easy shape from head to toe. The neckline is set wide and the sleeves are short and each ends in a magnificent pouf of feathers. These add so much drama and movement to the dress and I love them. The front of the dress is done in black sequins set into diamonds that run across the entire surface. The backing behind the sequins is in a black and this sits over a white lining to create a bit of depth and define the border of each diamond. Then when you turn he has done the entire back in the opposite using silver sequins on white for a stark contrast. The back is also dipped into a low V so that when you do turn and walk away it is almost a shock to see the silver and bare skin. I love it. The dress has all its original tags and has never been worn. Excellent condition

Fully lined in an ivory silk and closes at the back with a hidden set zipper. New with tags. Tagged a modern UK16 US12 FR44 IT48

Sleeves: 16" to the actual hem and the feathers extend down to about 20" in total. The sleeves are 15" around the top of the arm
Shoulders: 16"
Bust: to 21" flat across from side seam to side seam
Waist: to 17" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Bodice: 15" from top of bodice to waist
Skirt: 43" from waist to hem

Modern Sizing Equivalent: MED-LRG

Item# DD4092

Reference Photos/Video: Fall 2019 Huishan Zhang Runway Collection, Look 32.

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

A similar silhouette to this dress walked the runway for Fall 2019 but this dress was a production piece that was done in limited quantities for the shops. I still included the runway shot here because it gives you an idea of the fit of the dress once on the body. Fall 2019 was a wild success. The Vogue review for this collection touched on his inspiration for the show saying;  (he is) a man on an intuitive mission to place fashion on a positive plane. “I feel that people are looking for emotion and dreams—but not distant dreams,” he said today before his ready-to-wear show was about to take to the runway. “I want to create a community for Valentino. I mean something different from ‘lifestyle,’ which is about owning objects. It’s about people who share values.” Every piece he does is special and this dress is no exception.

I love this dress. It is one of my favorite pieces and it feels thoroughly Valentino. When you add in that spectacular floral print that covers almost the entire front of the skirt and it's just a joy. The dress is made from a fine and very light weight cotton that has been finished to have a sheen so that it looks at first glance to be a silk. It has a touch of transparency to it and I think he choose a cotton over a silk as it hold the pleat work far better then a silk would. This dress comes with its original hang tags and it notes on them that the cotton was spun in such a way that it may have variations in it. There is also a tag that outlines how to maintain the plisse effect that dress by wringing it to compress the pleats after cleaning. I love that Valentino goes to these lengths and uses such natural fabrics. It is part of what makes the exceptional quality of his pieces. The lightness of the cotton combined with that pleating is what lets it move so beautifully over the body once it is on. When you walk, the fabric of the skirt and those fantastic caped sleeves catch the air and billow out around you. The entire dress has been finished to look like it was hand painted. The body of the dress it done to suggest stone or sand and is in soft variations of a pink taupe in several tines. Then onto the front skirt is the giant abstract painting that has been done to suggest a flower or perhaps a field of them. It is actually screened onto the fabric yet it somehow feels as if it is hand painted into it. The neckline is set high and there is the tiniest little ruffle set there. It skims over the bust and the a second small ruffle curves around the easy set waist seam. The skirt falls from under there to the floor in a sweeping expanse of fabric. There is a very deep ruffle that is attached to the upper skirt and here to the seam of this tier is also finished with a ruffle. The skirt is cut beautifully and gradually widens out as it nears the hem. There are yards of fabric in the skirt and the pleats expand to give it a floating effect as it moves with you. The sleeves are wonderful. Each is a full circle around and fall over your shoulders. I took a shot from the side so you can see how wide they are. I love them. The precision in cut to have this all fall and move so beautifully should not be underestimated. It has never been worn and has all its original tags. Excellent condition

Lined through the bodice and skirt with a similar but un-printed cotton. The dress closes with a hidden set zipper at the back. Tagged a Valentino 40. All original tags. Has its original price of 4400 euros which was about $5300USD in 2019.

Bust: to 18" flat across from side seam to side seam
Waist: to 14.5" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of bodice to waist
Skirt: 46" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4078

Reference Photo: Fall 2019 Valentino Runway, Look 60. Model: Yoon Young Bae.

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 the prettiest Oscar dresses I have ever had in the shop and I love it. The movement it has when it is on and you walk is just incredible. It's exact twin was did not make an appearance on the runway but there were several dresses that had similar elements to this one. I have included the two closest here. I think that this one is even more gorgeous then either of those and I am kind of obsessed with it. In the review of the show Vogue's Janet Ozzard said in part; "It’s virtually impossible not to get swept up in Oscar de la Renta’s confident vision of the luxurious life. The designer played to all of his strengths for spring, showing more of the pretty dresses, chic suits, and slim coats that have made him a touchstone of relaxed, modern elegance....Judging from the cuts and colors of this collection, de la Renta has Palm Beach on his mind." and for the evening pieces she noted that; "Turning up the volume for evening, de la Renta progressed from a long, cool pour of pink charmeuse, to a giddy yellow satin strapless dress covered in nosegays of silk flowers, to embroidered and embellished showstoppers guaranteed to make it a memorable night—red carpet or not." This dress is definitely a dress that could walk a carpet and it would also make an amazing dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration.

This dress is absolutely dreamy. It is made out of the perfect pale mint green coloured silk chiffon. It is strapless and the upper bodice has a soft rounded shape to it. The silk is draped over the bust to give the feel of a bandeau and gathered in along the center. Inside it is cupped and shaped for support. Under that it is cut to hugs the body and the silk has been draped softly over the inner lining. The gathers are all set to curve and wrap around your body. That stunning colour combined with the soft gathers creates the most gorgeous effect. The dress is meant to hug the body and highlight your curves to past the hips to create an hourglass feel. The skirt is set in at about mid-thigh and it is spectacular. Here you see the genius of Oscar. The skirt has a ton of volume to it that shows best when you move. It is made out of a cascade of silk that becomes very full as it nears the hem. It is set longer at the back then the front so that you get this pretty curve from the side view and this fantastic sweep of skirts from the back. The entire skirt is covered with individually placed chiffon 'feathers' or 'petals' that move with the slightest bit of air and fall softly to the floor. The lightness of the silk causes all those appliques on the skirt to move with the slightest bit of air. When this is on and you are walking the effect that this creates is absolutely gorgeous. The final perfect detail is that open keyhole under the center of the bust. This little flash of skin is the prettiest detail that adds that perfect finishing element of romance and femininity. This is Oscar at his very best and it is a tremendously beautiful dress. Excellent condition

Fully lined in a matching pale green silk. The applique work on the skirt are set on top of the same silk chiffon as the rest of the dress so you get a touch of transparency under them. It closes with an inner side zipper to close the built in boned inner support and then a second hidden set zipper over that to close the exterior dress. Lightly boned through the inner bodice and built in hidden cups. Inner waist stay hooks to close. Tagged a US 6. It appears to have been worn very little if at all.

Bust: to 17" flat across from side seam to side seam
Inner corset waist: 13.5" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 54" from top of the bust to front hem, 57" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD4073

Reference Photos: Spring 2004 Oscar de la Renta Runway Collection. Look 49 & 53.

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

Marie-Louise Carven, who founded her label in 1945, was one of the few female couturiers in the post-Chanel/Schiaparelli days of the Parisian designers. Her work was exquisite and she was a brilliant marketer, launching perfumes and a ready-to-wear line in 1950, something that couturiers still were not doing to a great degree at that time. She was known as being one of the great couturiers of the 'Golden Age' of Haute Couture and her designs became know for being so perfectly French and representing the spirit of Paris. She specialized in making dresses for a more petite sized woman. She was only 5'1" tall and found that there were often no options for herself so she decided to fill that gap saying that the other couturiers had no time for smaller stature women. Green was an integral colour for the house. Her atelier was green and white and her perfumes came wrapped in green and white striped paper. This dress is a stunning and very rare example of her work during this time period and encapsulates all that she meant to achieve with her work.

The dress is made to the typical fashion of her work in this time period. She loved to add collars and trims and often used organdy and linen that were cut out and embroidered. This dress has all of those and it is tremendously beautiful. The workmanship on this dress is amazing. The body of the dress is made from a pale green organdy that has been embroidered around the edges and on each individual piece of the pattern as well. It has open cut outs between the green parts so that you can see the pale ivory silk organza lining underneath. The effect of this layering is wonderful. It gives the pattern even more depth and texture then it would have with just the embroidery work. It is also slightly transparent which adds to its feeling of airiness and lightness. The bodice is cut to skim over you and the waist is seamed and set slightly high. I have added a ribbon to some of the photos and you can wear it with or without a belt for more shape. The skirt widens out as is nears the floor and is cut slightly longer in the back for a pretty sweep of skirts behind you. The neckline is finished with an elaborate silk organza ruffle. The ruffle is made of four layers and each layer is edged with a silk ribbon finish. It can be worn on or off the shoulder. I prefer it off the shoulder so that you get that bare expanse of skin. The hem is finished with the same ruffle technique and this cleverly weights the skirt so that is fall perfectly and also gives it this beautiful little kick with you move. It is an extraordinary and rare piece of Haute Couture and it is fabulous. This is an amazing piece of fashion history and it is a simply beautiful dress. Present as excellent condition with some small things to note below

Fully lined in the ivory silk organza and zips to close at the back. It is in overall great condition and at first glance looks perfect. There are some tiny flaws that I think are inevitable with this type of fabric. There are some well dome repairs here and there to the inner lining that do not show from the exterior. Some tiny areas of darkening here an there to the ruffles. There are some small stress tears around the armholes. I photoed these. Here and there the connecting bridge to another pattern piece has come apart and there is maybe a couple of tiny tears on the fabric here and there. Please see the photos after the label shot. It is completely wearable as it is now. The ribbon tie belt is not original to the dress but will be sent with it. It is slim through the hips

Bust: 17.5" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Bodice: 14" from top of bodice to waist
Skirt: 39" from waist to front hem, 43" to the back hem

Modern Sizing Equivalent: XS-SML

Item# DD4074

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

Please do not buy. On hold for DM 

This twin of this dress walked the runway for the Fall 2013 collection and it is not only the twin of the runway piece but it is also the twin of the same dress that I have had in the shop before. I think I love it even more this second time around. In 2013 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. Vogue's Nicole Phelps said of this show in her review: 'Vermeer's Girl With a Pearl Earring stared out from Maria Grazia Chiuri and Pierpaolo Piccioli's mood board this season. At a preview, the Valentino designers were making connections between what they called the severe yet sensual portraits of the Dutch masters and their exquisite new collection for Fall. "We wanted to capture women in a private moment," Chiuri said. "In this show, the face is very important." This is Valentino we're talking about, of course, so in the end there was no lack of intricacy in the details. There were gowns galore, many of unsurpassed beauty, and some too beautiful not to bring up. But to prattle on describing them would be to defeat the point. They weren't the news; the austere grace was" This dress is one of the best examples of that 'austere grace' that Phelps describes above. It was also the closing look of the show with an added white collar and cuffs for styling. Last looks are always a shoe-in as a collectors piece as they are the look the designers wished to leave with us that final impression of the show. And what a piece to have an impression of.

The dress has this fabulous almost stark and severe feel with is simple cut and black fabric. You are fully covered and this makes it feel so refined and elegant. The dress is made from a black cotton and silk mix that has a slight coated sheen feel to it. This fabric choice keeps it light in weight but still has enough structure to hold its shape. The cut is minimalist with a high neck with a small and neat collar. The bodice is cut to skim over you and the shoulders extend out to the sleeves with no seam there. This takes a lot more fabric to execute and is a detail that you rarely see in modern clothing. The sleeves are long and just slightly taper down to the wrist. There is a hidden set button at the end of each sleeve and I love how this button is set towards the inner lining so the line of the sleeve is unbroken. The waist is brought in slightly with vertical seaming and then skirt falls under that to its original uncut supermodel length. All of the seaming on the dress is vertical and the width of the skirt that you see is achieved by adding an inverted pleat down the center of the skirt. The panels within this pleat are the same width as the ones that circle the skirt and it is all cut exactly and precisely so that the skirt balances and falls perfectly. At the back the hem curves down and is cut a few inches longer then it is at the front. This gives it this pretty and graceful curve from the side and also adds the sense of sweeping skirts as you walk away. The dress is fabulous on the body and and it is beautifully finished. I have included runway photos and also shots of myself wearing the one I had in the shop previously so that you can see how amazing it is on the body. We also found runway footage that gives you a better idea of how that stunning skirt moves once on. The dress appears to  have never been worn or worn very little if at all. It's perfect. Excellent condition

Fully lined in a fine black silk throughout and has a hidden set zipper at the back. Each cuff buttons to close with hidden buttons. Tagged a Valentino 42. It appears to have never been worn. There are hidden buttonholes inside the collar and cuffs to be able to button in the collar and cuffs that you see on the runway photos that were sold separately. With those button holes there you could get ones made in any color or style you wished to really change the look of the dress.

Sleeves: approx 22"
Shoulders: no true defined seams
Bust: to 18" flat across from side seam to side seam
Waist: 16.5" flat across from side seam to side seam
Hips: open
Length: 61" from neck to front hem, 65" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD4071

Reference Photos: (1) F/W 2013 Valentino Runway Finale Look. Model: Maud Welzen.  /  (2-6) Cherie, Owner of Shrimpton Couture.

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

This is a gorgeous dress by Karl Lagerfeld for Chanel and its twin walked the runway for the Fall 1998 season. On the runway is was shown with boots and a loose jacket over it but it is as good or better worn on its own. If nothing else it shows how versatile a great LBD like this can be. It was also amazing to find a runway photo from this time period and I love that with it you can see how lovely the dress is on an actual body. It is very hard to find photos from these earlier collections and having that additional documentation makes this dress that much more special.

This is an absolute stunning dress from 1998 Chanel fall collection. My client knew that it was a runway piece and after sifting through hundreds of photos we finally spotted it in the photo added here for reference. Everything about it has that chic Chanel feel that makes many of Karl's designs classics forever. It is very beautiful in person and the simple lines and cut make it the kind of dress that you can wear multiple times and the styling and accessories you add will make it feel different each time. It is made of very light black wool crepe. The dress is almost weightless and it drapes over the body perfectly. The dress is actually a strapless sheath that has panels added over it that create that one shoulder silhouette. There is a long panel added to the bodice on both the back and the front and these extend out to meet at the top of the shoulder at the one side. This leaves the other shoulder bare and exposed. Under that is an additional strap that helps to hold everything perfectly in place. What is interesting about this one is that each panel on each side is cut slightly different. The dress is so well made that you can actually wear it either way and by switching it around you get a slightly different shape and feel. I have photoed it both ways for you to see. Its like getting two dresses in one.  The waist is slightly shaped and brought in for a bot of shape but there is no seam that breaks the eye. You could even add a belt if you wanted to add shape and change up the look more. The skirt falls under that to the floor and has an inset panel on one side. This extends down past the hem for a slight trailing effect. It also perfectly offsets the one shoulder feel. It is light in weight so as you move it moves around you. It is a clever way to add movement and interest to the skirt without sacrificing the lean line he has created. It is just stunning. Excellent condition

The main part of the dress is lined with a Chanel logo embossed fine black silk. It closes with a hidden set side zipper. Tagged a Chanel 36 from collection 98A

Waist: 15" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Bodice: 14" from top of bodice to waist
Skirt: 44" from waist to shortest part of hem, 51" to the longest

Modern Sizing Equivalent: XS-SML

Item# DD4070

Reference Photo: Fall 1998 Chanel Collection Presentation.

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

In 1951, 27 year old James Galanos launched his first label called Galanos Originals. By 1954 he had won a Coty award and the Neiman Marcus award. By 1958 he was producing clothing that could range in price from $200 to $3000, an astronomical price for ready-to-wear for that time period. His ready-to-wear line was made close to couture standards and with a level of craftsmanship that was on par with the French couturiers. Galanos was a master cutter and draper and he used many couture techniques in his work. Grace Kelly was an early fan. He was truly one of the great American designers and his work is held in all of the major museums around the world. He is one of my personal favourites. This dress is exceptional and I was very excited to have it come into the shop. It would be red carpet worthy and it would also be an amazing wedding dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. It already has the something blue built in. And of course it could also be worn to any non wedding event too. 

I love this dress. The color combination is fabulous together and the two different silks that he used are the highest quality. Galanos excelled at silks and silk chiffon and this dress is a testament to that. It is very difficult to work with these fabrics and have them sit properly. The skirt is really where you see his genius. It is made out of four layers of an ivory silk chiffon with each layer stacked perfectly over the one beneath it. Then on top of those is a fifth printed floral layer. This final outer layer has a touch of texture to it that makes it incredibly beautiful. The layers are attached at the side seams and around the waist so that the hem and shallow slits at the sides can benefit from the full movement created by all the layers. This is what gives the dress movement when you move while still keeping it light as air. Along each side of the skirt is a panel of a liquid finish silk satin. This is a clever way to help the skirt hold its shape and give it weight so that when you move it always sits right. The side panels are actually extensions that run down from the bodice. The top is a simple affair that covers you at the front and leaves the back completely bare. It is gathered in soft horizontal folds across the bust and then those gathers tighten and curve down low at each side. Instead of wrapping around you to the back they drop and extend into those side skirt panels that you see. It is incredible. Tiny straps curve up and over your shoulders and then drop all the way down your back to the waist to hold the dress in place. The inside of the bodice is lightly boned and then lined with what feels like several layers of silk and structure so that you can wear it with nothing underneath. To finish the look he then added this spectacular and huge flower print on both the front and back of the skirt. This bold blue flower covers almost the entire skirt and makes sch a beautiful statement. It is like wearing a piece of art. It would also have had to have been all planned out prior to construction and the silk used for it done separately so that the flowers fell in the exact right position. As with most silk chiffon pieces it really will only truly come to life when on an actually body. It is beautifully made and feather light. Gorgeous. Excellent condition with a small note below.

The multiple layers of silk in the skirt serve as the lining. It closes with a low back hand set zipper. Hand rolled edges and hand finishes throughout. Light boning through the bodice. There is the very faint mark on the side panel of the skirt and some small ones near the hem of the inner lining. Please see the last two photos after the label shot. Slightly more ivory in person then how it photoed.

Bust: the total width of the bust across is about 16" and there is no back
Waist: 13" flat across from side seam to side seam
Inner Hips: to 18" flat across from side seam to side seam
Bodice: 14" from the top of the strap to the waist
Skirt: 42.5" from waist to hem

Modern Sizing equivalent: XS-SML

Item# DD4064

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. I have included some photos of Riley Keough in a dress with the same print that she wore at the time to attend the Couture show. It at least gives you an idea of how fabulous and vibrant the print is on the body. I have to say that I prefer this dress over hers. It is far more classically Galliano for Dior in shape and cut.

This dress is made from a fine silk crepe chiffon that is cut completely on the bias. It is very beautiful. The silk is covered in one of his more vibrant prints and I love it. An explosion of flowers cover every inch of the dress. The signature bias cut that he often did allows the dress to skim and drape over the body so that is shows every curve but is not overly fitted. The seaming is highly reminiscent of the work you see from the twenties and thirties which became another of John's signatures. The fabric has been pieced together and laid out to form a low dipping bodice and then low dropped angled panels that create the various parts of the pattern that you see. Set along the seams are loops made out of the same fabric and I love how some are only attached at one end so you get this bit of a raw decadent feel. This also creates incredible movement. All those loops move as you move and the effect is fabulous. The dress is suspended from wide straps that curve over each shoulder. The bodice is simple and soft with dropped seams. It glides over the body and then flares out as it reaches the hem. The widening of the hem is created by the way the panels are inset. It is an incredible feat of patterning. The skirt falls longer at the back and the sides are cut higher as well. There are slits up the side to add to the movement of the skirt. This also gives you a flash of leg when you sit or move. The back is a low V that leaves a bare expanse of skin to show. The dress is even better in person and on the body as the static photos cannot fully convey how a bias cut dress moves. They only truly come to life when worn. This one also comes with a matching silk chiffon stole that is cut extra long and wide and is finished with a trim of silk flower petals. I have shown several ways that it can be worn and there are probably more. It is an incredible example of his work and looks to have been worn very little if at all. Excellent condition

Fully lined in a white silk chiffon and both layers are cut on the bias. It slips on to wear with no closures. The bias cut should allow it to fit a variety of sizes. The length might come up when on depending on the size of the girl underneath since it is cut on the bias. Tagged a US10 FR42 GB14 IT46. The measurements given below are the comfortable stretch of the fabric laying flat. You might get a touch more when on an actual body. Comes with its original matching shawl trimmed with silk petals at each end

Bust: 17-20" flat across from side seam to side seam
Waist: 15-18" flat across from side seam to side seam
Hips: 18-23" flat across from side seam to side seam
Length: 54" from shoulder to the front hem, 57" to the back hem
Shawl: 92" long x 20" wide

Modern Sizing Equivalent: SML-LRG

Item# DD4062

Reference Photos: (1-3) Riley Keough, in Dior, with John Galliano at the Fall 2004 Haute Couture Dior Runway Show. / (4-5) Alek Wek attends the Solomon R Guggenheim Museum's Young Collectors Council Artists Ball hosted by Dior on December 16, 2004.  

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

There is very little information of the cruise collections from the early 2000s but I do know that this came from the estate of a woman who shopped a lot at Chanel. Her things were stunning and she took immaculate care of them. This is one of several suits from her estate that I have had including this other Chanel suit that is available at the moment  (find that one here). She was not a size 0 and it is nice to find some Chanel pieces that are a slightly larger size when so many that I see are usually very very tiny. That all said, we were able to find a reference photo of a similar top which was worn with pants on the runway that season and a shot of Emmy Rossum who wore the twin of the jacket in 2012 for an event. Which gives you a great idea of how amazing it is on.

The suit is constructed from an absolutely stunning ivory silk version of the Chanel signature boucle fabric. It is absolutely beautiful. It is then edged with the palest possible pink silk chiffon. I love the mix of the boucle and silk chiffon. On the jacket the chiffon is inset down the front edges, along each pocket and at the ends of the sleeves. The edging is composed of three layers of the silk chiffon and left with raw edges.The effect of these layered over top each other is very soft and romantic. The silk continues all the way around the hem. I especially love how it peeks out from the cuffs of each sleeve and drops down on an angle. Pockets and curving seams detail the sides of the jacket. The skirt is cut with a slight flare is it nears the hem and has more of the silk chiffon technique applied and inset under the hem. The entire suit is then lined in the highest quality camellia flower embossed white silk. This came with the matching pale pink lace top that is from that same collection. It would have been bought separately but I decided to keep it all together because it just felt right. The lace mixes a pale deep cream and pink thread that forms the signature Camilla flower of the label. It has no closures just a touch of elastic at the base of the back and the lace will stretch. A padded double C logo and cross are added at the front.  This is classic Chanel and it is exceptional. It would make a great bridal piece for the bride not looking for something traditional or as a dress for an event surrounding the ceremony. Excellent condition.

Both the skirt and the jacket are fully lined in a fine, white silk embossed with the Chanel camellia flower print. The top is unlined. The skirt closes with a hidden set zipper. The jacket and top have no closures. Chanel logo sewn onto both pieces of the suit. It appears to have been worn very little if at all. The color and texture are even better in person. The jacket is tagged a Chanel 44, the skirt a 42 and the top has no size tag present. Some of the glitter looks to be missing around the edges of the appliques on the top. It is a little creamier in colour then how it photoed

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

Jacket
Sleeve: 25"
Slightly dropped shoulders: 16"
Bust: 20" flat across from side seam to side seam
Waist: 19.5" flat across from side seam to side seam
Hips: 22" flat across from side seam to side seam
Length: 22" from neck to hem

Skirt
Waist: 17" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 21" from waist to hem

Top
It has stretch. It fit on my dress form that has a 39" chest and a 31" waist and I think it can go up to that bit not much more. The measurements below are unstretched and laying flat
Bust: 17.5" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 22"

Modern Sizing Equivalent: MED-LRG

Item# DD4057

Reference Photos: (1) Cruise 2004 Chanel Runway Presentation.  /  (2) Emmy Rossum, in Chanel, at the 9th Annual John Varvatos Stuart House Benefit in California, 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.

John Galliano was moved from Givenchy to Christian Dior in October of 1996 and stayed there until he was dismissed in February of 2011. This dress is from the Resort 2009 collection and it is the twin of the piece that walked the runway. The runway pieces that season where based lightly on Poiret and the Paris of the past and for production there was a group of more refined and elegant pieces like this wonderful dress. You so often see how John translated his over the top runway collections into elegant, wearable and yet still glamorous pieces like this dress but this one is the twin of the actual runway dress and it is infinitely wearable. The look was worn by Chanel Iman on the runway and it is gorgeous. The Vogue report on the collection noted that: "Galliano has been mining the good old U.S. of A. for raw material from which to spin his dreams....grandes dames like Barbara Hutton, Millicent Rogers, and Nan Kempner—women who weren't afraid to make a bold sartorial statement, one that preferably involved a whopping piece of jewelry. From a shimmering backdrop that conjured a Tony Duquette garden, there emerged a full wardrobe for their modern-day counterparts in Palm Beach, Beverly Hills, and Dallas.... What this season is really about is not so much breaking the mold as delivering a vision of the good life—and Galliano can do that in spades."

This is a very easy and wearable piece by John and I love that its soft and romantic lines could easily play double duty and make a great bridal piece for the bride not looking for something traditional, a court ceremony dress or as a dress for an event surrounding the ceremony. The dress flounces over the body and is easy to wear and still flattering. It is made of three tiers of a light weight silk gazaar that opens up and widens out as it travels over you. The neckline is cut wide across the shoulders and an ruffle in the same fabric adds a pretty face framing touch. At the back this ruffle continues down, curving over the shoulders and highlight the deep V at the back. Each of the tiers under that have that same ruffle treatment and I love that they are all set on a bit of a downward curve. This is a clever way to add length and shape so the dress does not sit on you like a sack. It is insanely pretty without being juvenile and the dreamy ivory has the perfect amount of romance and softness to it. The silk is light as a feather and yet has enough structure to hold the shape so it does not collapse around you once you move. It looks remarkably simple yet is genius in its execution. It looks to have been worn very little if at all. Excellent condition

Fully lined in fine white silk and closes with a hidden set side zipper. The ruffle that runs over where the zipper is set snaps to close with hidden set clear snaps. It appears to have never been worn or worn very little. Tagged a FR 36, GB 8, I 40, USA 4. The easy cut should work on a range of sizes.

Bust: 16-17" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Length: 39.5" from top of shoulder to hem

Modern Sizing Equivalent: XS-MED

Item# DD4056

Reference Photos: Resort 2009 Dior Runway, Look 9. Model: Chanel Iman.

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 suit is instantly recognizable as an Alexander McQueen piece and it is stunning. The FIDM Museum has its twin on their permanent archives and they did a spectacular write up on the suit which I will share here; "Deliverance, Alexander McQueen’s Spring/Summer 2004 fashion show was the hit of the season. Based on the 1969 film, "They Shoot Horses, Don’t They?" Deliverance subverted the typical fashion show narrative by reversing the order of presentation; evening gowns kicked off the extravaganza while faux-homespun daywear and a tarnished evening gown concluded the show. This narrative mirrored the film, which documents a Depression-era dance marathon. In order to earn a cash prize the hopeful participants must dance for days with only brief breaks for food and short naps. Lack of sleep and food, paired with non-stop dancing, drives the dancers to the point of emotional and physical collapse and ends in tragedy... 20 trained dancers paired with 20 models, all of whom rehearsed for two weeks. Deliverance began with models and dancers moving about the dance floor with a sense of eagerness and purpose, dressed in delicate gowns. By the end of the show, the dancer/models struggle to stay upright while dressed in patchwork garments representative of their overall decline. Of course, Deliverance was a fashion show presented by Alexander McQueen, so even the patchwork garments were exquisitely crafted. The woman’s suit constructed of men’s cotton shirting seen below appears near the end of the Deliverance, worn by a model slumped on the shoulders of her dancing partner.... The emotional and physical deterioration in Deliverance is typical of McQueen’s work, which frequently explores themes related to violence and decay. Garments, particularly in his early collections, are often intentionally cut and torn and his fashion shows have been called a “theatrical staging of cruelty.”Though it almost seems counterintuitive, McQueen has expressed a strong interest in creating a feminine persona that is intimidating in its visual power. When examined closely, it is easy to view the FIDM Museum suit as an expression of McQueen’s interest in powerful femininity. The symmetrical patchwork resembles the patterning of an animal or insect and the small flounce at the lower back of the jacket references the stinger of a bee. Despite these obvious danger signals, the subtle and varied patterning of the textiles invites closer inspection, enticing the spectator as a spider lures an insect to its web."

The suit is identical to the one that walked the show. It has the additional provenance of having twins of it worn by Nicole Kidman, Jennider Colnnolly and Sienna Miller. The collection was also re-shown in LA in a special presentation the the Chateau Marmont. Few of these would have been produced and it is amazing to have such an wonderful piece of his work in the shop.

A piece like this truly showcases McQueen’s strong tailoring background& and master cutting abilities. The suit is made from a variety of cotton suiting fabrics and gives a nod to his heritage and strong tailoring roots. The jacket is also cut with sharply tailored lines and then he has added that spectacular button detailed collar and brought in the waist to create a more feminine shape. I love that it still feels very refined despite its avant garde patchwork details and cut. The shoulders are squared off and padded to hold their shape. Each sleeve is cut on a slight curve in the proper manner of tailoring a sleeve and ends in 4 functional buttons at each cuff. The body of the jacket is shaped with a female body in mind and is cut in at the waist for shape. Buttons run down the entire front. Six of them close at the center part of the jacket and then the rest above and below are decorative. It then flares out over the hips into a peplum around you. At the back it is cut to flare out into a sharp flounce as referenced above in the FIDM description. The skirt under that is equally as exceptional. It is cut with a flat front and is fitted around the hips. Curved inset allow it it flare out beautifully around you. You really need to watch the runway clip to see just how stunning it in on and moving. I think my favorite thing about it is how the the various cottons are pieces together and so deliberately sewn and apparent. The workmanship is meticulous and it is an absolutely beautiful and a rare piece of his work. Excellent condition

Both pieces are fully lined with an ivory cotton twill in the jacket and a silk through the skirt. The jacket buttons to closes at the front. The skirt closes with a hidden set side zipper. The jacket is tagged a size 42, the skirt a 40. Padding on the shoulders. Tiny and shallow hidden pockets on the jacket along the front waist seam. Deliberate raw edges on some parts of the set. I see the tiniest marks near the waist and on the front ribbed cotton. My cleaner thinks it is a part of the fabric and an inherent to the way it was woven. I have photoed both for you to see even though it is so minor. It otherwise looks to have never been worn or worn very little. The suit has an overall more creamy tone to it n person then how it photoed

Jacket
Sleeves: 24"
Shoulders: 15"
Bust: to 18" flat across from side seam to side seam
Waist: to 14.5" flat across from side seam to side seam
Length: 22" from neck to longest point of hem

Skirt
Waist: to 14.5" flat across from side seam to side seam
Hips: to 18.5" flat across from side seam to side seam
Length: The hem ranges from 29" from waist to middle front hem to 31" to the sides

Modern Sizing Equivalent: SML-MED

Item# DD4055

Reference Photos/Video: (1-5) Spring 2004 Alexander McQueen Runway Show, Look 55.  /  (6) A model walks the runway at the Los Angeles debut of designer Alexander McQueen's Spring / Summer 2004 Collection at Chateau Marmont on January 21, 2004 in West Hollywood, California.  /  (7) Spring 2004 Alexander McQueen Suit in the FIDM Museum Collection.  /  (8-10) Nicole Kidman, in Alexander McQueen, at AFI's 2003 Awards Luncheon, January 2004.  /  (11-12) Jennifer Connelly in Alexander McQueen, November 2003.  /  (13-14) Sienna Miller, in Alexander McQueen, at the Wimbledon Lawn Tennis Championship, 2004.  /  (15) From the book "Alexander McQueen" Edited by Claire Wilcox.

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 several versions that are well documented from the Spring 1979 Yves Saint Laurent runway show. I have included all that we could find so you can see how wonderful this collection was and what an integral part of that years show this dress and those like it were. The very first reference photo has the twin of this dress but in a different colour way towards the back of the shot. It gives you an idea of how fabulous this will be on. It is a spectacular piece and very easy to wear.

I love the pretty mix of colours in this dress and the incredible movement that it has. Yves was just a master with fabric and this dress is wonderful. The three colours used are bright and compliment each other perfectly. The top layer is a bright sea green and then there is a royal blue layer under that and a final red layer at the bottom. The entire thing is constructed from a beautiful light weight silk chiffon. Each tiered layer has been knife pleated. This allows the fabric to expand out as each layer reaches the hem. When you move the pleats are what gives the dress its incredible movement. The entire dress is cut to be as comfortable to wear as possible. The neckline is finished with a green satin finish flat ribbon piping to highlight its edge. This same ribbon is used for the straps that curve up and around your shoulders. I think that you could probably tuck the straps in and wear this as a strapless dress if you wanted and I love the versatility that would give you. The dress skims over your bust and then opens up to be full over the waist and hips. The layers flow to the floor and they widen out in with each tier to the bottom hem. The dress has a fantastic romantic and light feel to it and the bareness of the shoulders gives it a bit of a sexy touch. I love that the runway and ad shots show you how he would have styled this too. Tons of ideas to play with there. Excellent condition with a minor note below

The bodice is lined in a nude silk chiffon and then the tiers under that make it opaque enough to wear. It buttons to closes at the side above a small keyhole. I see slight colour run on one side of the green tier but it is very subtle and faint. Withe the pleats you really only see it if you spread it out flat as I did for the photo. Please see the shot after the label shot. Some of the pleats have softened slightly near the hems. Tagged a vintage YSL 38. The top edge seam has no give so that measurement is firm unless altered. Otherwise the easy cut should fit a range of sizes.

Seam at the top of the bust: 16" flat across from side seam to side seam
Inner bust: to 18" flat across from side seam to side seam
Inner waist: to 19" flat across from side seam to side seam
Hips: open
Length: 55" from shoulder to hem

Modern Sizing Equivalent: XS-MED

Item# DD4050

Reference Photos: (1-5) Spring 1979 Yves Saint Laurent Collection. Assorted runway & ad campaign photos.  /  (6) 1979 Saint Laurent Rive Gauche. Photo by Francois Lamy for Vogue.

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 early eighties are a time period often overlooked in the Paco Rabanne history but there are some lovely pieces that came out of this time period. This dress is definitely one of them. It is a Haute Couture piece and has been entirely made by hand. His entire brand was based on innovation Even in the 80s he was experimenting and developing new fabrics. This is a beautiful piece and a very wearable one as well. 

This is a lovely dress whose fabric is phenonemal. The dress has a simple cut. It is cut fairly straight all the way from shoulder to hem and just widens out a touch as it nears the hem. This makes it very comfortable once on the body. The neckline is cut straight across and wide. Each sleeve is cut very wide with a slight flare as it reaches the end and you can see how this adds a beautiful line to the dress. The sleeves add movement and drama to the dress and really give it that caftan feel. To offset the coverage of the velvet there is a high slit worked on one side so that you get a flash of bare leg when you sit or move. The fabric is just beautiful. It is a deep deep burgundy red and the velvet is soft and plush. Worked into this are two large clusters of flowers. One on the bodice and the other near the hem. The fabric these inset is made out of an iridescent pink gold that changes colour as the light hits it. Tiny little gold coils and beads are then hand placed all around the edges for a 3D effect. You can see and feel the gold popping off if the velvet and it really is just an amazing detail. This is the type of dress you will only ever find in vintage and it is probably a one off. it has the feel of a runway sample to me. It is all done by hand but some of the seams seem basted and that is usually what you see with runway pieces. Excellent condition with a minor note below

The dress is partially lined through the middle and this partial lining helps to hold the skirt in pace where it wraps under itself with the way the skirt is constructed. The inner hem is extremely deep so it might be possible to extend the length of needed. Minor flattening of the velvet in places but that's normal with vintage velvet. Weights on the hem. It slips over the head to wear. Hand finishes throughout and hand finished inner seams

Sleeves: 26.5" to longest point
Shoulders: 16.5" and meant to drape down slightly past the natural shoulder
Bust-hips: 19" flat across from side seam to side seam
Length: 55.5" from shoulder to seam under the bust
Slit: 29" from seam under the bust to hem

Modern Sizing Equivalent: XS-MED

Item# DD4047

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

Dakota Johnson wore the twin of this incredible dress for the 2018 Golden Globes and it is a beauty. That was the year that all the stars wore black on the red carpet. The gowns were donated after and sold at a charity auction. This dress does have a showroom tag on it and another tag with Look 30 written on it and I wonder if this somehow made its way to my client. The place she purchased it from had no previous information  so without solid provenance I cannot say for sure but it seems that it is a definite possibility that this may be the actual dress worn by Dakota. If it is not it is identical. Dokaota landed on every best dressed list there was for this look and it is truly one of the mist stunning dresses I have seen.

Vogue said of this collection; "The Gucci girl (or shall we call her Guccy?) is a horror-movie buff. One of her favorite directors is the Italian Dario Argento, whose best work in the ’70s and ’80s celebrated Rome’s nocturnal dark side. Movies like The Bird With the Crystal Plumage, Inferno, and Deep Red have become classics of the genre. Alessandro Michele himself is a huge fan. With his help, for Pre-Fall the lovely Guccy roamed the Eternal City, touring a few of the bizarre locations where Argento shot his most sinister, spooky scenes, her adventurous looks a match for the quite extravagant backdrops." This dress was mentioned specifically; "Sipping a glass of Champagne at the majestic Art Deco bar, she looked her glamorous best in a trapeze-cut velvet dress embroidered with glittering shooting stars."

The dress is fantastic. The body of the dress is made from an inky black velvet and this fabric choice gives it a depth and richness that is gorgeous to see. It is cut in a chic sheath at the front with little velvet straps that curves up and over each shoulder. The bodice is cut straight across at the front and it skims over the bust. There is an attached belt at the waist where we see the first glimpse of whats to come in terms of crystals and embellishments on the dress. A buckle is made from diamond shaped crystals and pearls and adds shape at the front. It falls to the floor from there, gradually widening out as it nears the hem. Then when you turn around you get the full impact of this insanely gorgeous dress. The back is cut low across to leave the upper back bare and exposed. Then from the middle of the back are layers of tulle that cascade down and around you to the sides. There are three layers of tulle used to create the skirt. There is an inner black layer for support and than that is topped by a layer that has thousand and thousands of fused gold glitter dots onto it. The very top layer is just incredible. It falls from below a massive crystal detailing at the small of the back and it has streaming rows of rhinestones that create the tails of that 'shooting star' effect that Vogue mentions above. The detailing above that is astonishingly beautiful. It is an explosion of glass crystals that are topped by a 3D bow. As good as it looks in the photos it is even better in person. These catch the light from every angle and the skirts seem to flat around you. It really is an incredible piece. Excellent condition

Fully lined in a black silk with a built in cupped corset. The corset closes with its own side set zipper and the velvet closes with a hidden set side zipper over that. No size on the label.

Bust: 15.5" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Bodice: 13.5" from top of bodice to waist
Skirt: 48" from waist to front hem,

Modern Sizing Equivalent: XS-SML

Item# DD4041

Reference Photos/Video: (1) Pre Fall 2018 Gucci Collection, Look 30. Photo by Peter Schlesinger.  /  (2-8) Dakota Johnson, wearing Gucci, at the 2018 Golden Globes.

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 a version of this dress in black before and was so pleased to now have this red one. The twin of this dress was used for the 1985 ad campaign shot by Helmut Newton that featured his long time muse Kirat Young. This is one of the iconic pieces of that season and I am very pleased to have found this. These were made in two versions for production, the deeply plunged version like you see in the reference photos and this more wearable version that has a deep V but that does not go right to the waist. Of course if you prefer the full plunge a tailor could easily open it for you in a flash.

The dress is made from a beautiful red silk jersey that has enough weight and drape to it so that is falls perfectly in the sharp angular lines that Yves wanted it to be shaped in. It is a beautiful representation of this time period with its precisely shaped strong shoulders and how the shape of it narrows in as it reaches the hem. The dress is cut to skim over the body. It hooks and snaps to close at the waist in behind that spectacular gold and jewel clasp. The low cut V of the front is if course what makes it so edgy and the addition of that strong shot of gold and red at the waist makes it an instantly recognizable piece of YSL. The clasp is based on a Robert Goossen design and suggests coral or branches, each tipped with a red rhinestone. The center is a large faceted red glass stone and the this hides the hooked clasp behind it that brings in the waist. The fabric is gathered in towards that clasp to give you shape while still keeping it very easy to wear. The dress skims over you from shoulder to hem. Each sleeve is long and cut to mimic the shape of the body of the dress by having them be cut wider at the shoulders and then narrow down to the wrist. It is amazing on the body and just a beautiful dress. It appears to have been worn very little if at all. Excellent condition

Part lined through the upper bodice in a red silk chiffon with the rest of the dress unlined. It slips over the head to wear, hooking in at the waist behind the jewel with a flat hook & eye. Snaps bring in the fabric under that. Each sleeve zips to close. Padding in each shoulder. Tagged a vintage YSL 42. The fabric does have stretch so will fit a variety of sizes, stretching to accommodate curves and draping on smaller frames

Sleeves: 24"
Shoulders: to 16.5" but meant to be slightly exaggerated
Bust: 17-19.5" flat across from side seam to side seam
Waist: 14-17" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Length: 42" from neck to hem

Modern Sizing Equivalent: MED-LRG

Item# DD4035

Reference Photos: (1-2) Fall 1985 Yves Saint Laurent Runway.  /  (3) Kirat Young for Yves Saint Laurent Rive Gauche F/W 1985, shot by Helmut Newton, Vogue US March 1985.  /  (4) Another shot from the same shoot used for other publications that year.

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

Alessandra Rich is based in London and founded her self-named brand in 2010 after she designed her own wedding dress. She had no formal training and yet has managed to take her brand from the first 10 piece collection that took her eight months to put together to the mega brand that we know it to be today. This dress is the twin of Look 7 from her Fall 2017 collection. It felt like it was everywhere at the time yet at the same time it was  impossible to get your hands on one because it was sold out everywhere.

It is such a gorgeous dress. It is made from a turquoise stretch velvet that has a pretty floral print covering its surface. It buttons down the front and then she cleverly uses a combination of white and black to make it feel both feminine and edgy at the same time. The collar is wide and curved to follow the neckline. It is done in a double layer of a crisp white fabric which gives it a very sculpted formal feel while the curve of it keeps it feminine. The bodice is cut to skim over you to the waist that comes in just a touch to suggest shape. It curves over the hip and then down to the hem. Depending on your height it will fall to about the ankles so that your shoe can be seen. The sleeves are puffed and I love the black ribbon that details the cuffs. The ribbon is set so that it creates a pretty ruffle that I love. That same black ribbon outlines both of the top set pockets on each hip. Black  fabric covered buttons trail up the front to close the dress for the perfect final flourish. It appears to have been worn very little if at all. Excellent condition

Fully lined in a soft white fabric and closes down the front with the buttons as seen. The fabric has some stretch. Tagged a modern Alessandra Rich 40

Sleeves: 15"
Shoulders: 15"
Bust: 17.5-19.5" flat across from side seam to side seam
Waist: 14-16" flat across from side seam to side seam
Hips: 18.5-20.5" flat across from side seam to side seam
Length: 56.5" from neck to hem
Cuff: 10" around

Modern Sizing Equivalent: SML-MED

Item# DD4032

Reference Photos: (1) Fall 2017 Alessandra Rich Presentation, Look 7.  /  (2) Model wearing Alessandra Rich for Matches Fashion Style Report, 2017.

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 John Galliano dress is one of the most beautiful dresses I have ever seen. And yes - it is the dress that was worn by Ariana DeBose earlier this year to attend the West World HBO premier. I’ve included photos of her here from my various Instagram posts from that evening and you can see and read more on my Instagram. She even landed in the Vogue Best Dressed of the Summer season so far list in this one. It is spectacular. It is a stunning example of his work and is truly a beautiful piece. 

No matter how good you think that this dress looks like in photos and on Ariana, it is even better in person and moving. The silver metallic beads that creates the pattern on the silk catch the light from every angle when you move. The dress is made out of a deep red silk that has the slightest bit texture to it. The dress is cut on the bias so it just glides over the body. It doesn't even have any closures, it is made to just fall over you in a sweep of bias cut fabric. It is in its original supermodel length and has not been altered. It is cut to skim over the bust with a V neck plunge on both the back and the front. The V cut out are set just slightly off center and the back one scoops lower then the front. The dress is so well made that you could probably wear either side to the front and it works if not for the depth of the back plunge. The dress skims over the waist and hips and is cut so that the bias cut of the silk follows your curves and highlights the body underneath without it being too tight and fitted. Galliano was a genius when it came to this cut. Once past the hips the dress flares out as it nears the bottom and is incredibly long. Set in and around the full lower skirt are panels of the same silk that have been pleated. So when you walk or move these kick out and expand to add volume while still falling in a smother column when standing still. These glide and curve around you and add the illusion of even more height. That pleat work is picked up again at each shoulder where a ruffle of pleated and smooth silk wraps over and down the top of the shoulder for a pretty feminine touch. The final perfect detail is that spectacular design made out of a combination of silver tube beads and embroidery work that wraps around the waist and top of the hip. These cover each side of you and cleverly draw the eye in to add shape but without sacrificing the comfort of the bias cut. It is just wonderful. Excellent condition with a minor note below

Fully lined with an inner silk chiffon lining and slips over the head to wear. No size tag present. The measurements given below are the comfortable range when the dress is laying flat. It is in its original uncut length. Being bias cut the length may come up a bit once on the body. The dress should work on a large range of sizes given the bias cut. On smaller frames it will drape more and be more fitted on larger frames. I think the pleats may have softened a bit over time but its hard to know if this was not an international design detail to play on its decadent thirties feel. The very slightest touch of a watermark here and there near the hem. You don't see this at all unless its laid out flat and the skirt opened completely.

Bust: 18-21" flat across from side seam to side seam
Waist: 15-19" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Length: 62" from top of shoulder to hem

Modern Sizing Equivalent: SML-LRG

Item# DD4029

Reference Photos: Ariana DeBose, wearing John Galliano from Shrimpton Couture, at the Season 4 Westworld Premiere, 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.

This dress is from the Spring 2012 Valentino collection. During this time period both Maria Grazia Chiuri and Pierpaolo Piccioli were acting Creative Directors and it is interesting to see the collaboration that they did in these earlier years. This dress was not a runway piece but was produced for retail in a black, red and white. It has the feel of Looks 24 & 25 with that deep plunge at the front that is really fantastic. There is actually a Courreges mini dress that I am aware of that has this same scalloped front plunge and I always wonder if it was the direct inspiration for this longer version. Either way it is a fantastic dress. The show was a huge success and the Vogue review for this collection stated in part; "For Fall, the designers wove an enchanting, globe-trotting story through the sweetly feminine silhouettes they've established as their own over the last few ready-to-wear and couture seasons". Even if not a runway piece this dress was one of my favorites of the season and I was so pleased to have the red one come my way. It is just a fantastic dress.

This is such a gorgeous dress. Its simplicity combined with an almost shocking plunge at the front and its bright true red colour add up to an incredible piece. It is in its original supermodel long length and made of a beautiful silk crepe that gives it its sleek sculpted feel. The dress is very sexy and shows off some skin but still feels very elegant and refined. The fabric has just a touch of a bias cut to it through the body so its very comfortable to wear. It is really a dress meant to be on an actual body and not a mere dress form. As good as it looks here it only really comes to life once on. I love the wider straps that curve up and over your shoulders and how all the edges of the bodice are set in a soft curving scallop pattern. The bust is set wide to the sides of the dress and then it opens up across the upper chest to the outer parts of the shoulder. The front plunges down from there to almost the waist. I love the band of the same fabric that sits part way down to keep it perfectly in place and creates just a subtle little key hole below the breast. This wraps all the way around you to add shape and structure. So it is a very deep plunge but a very wearable one. It is such a pretty and feminine touch. At the back it is scooped wide across there as well and then down into a V to leave most of your upper back bare. The skirt falls under that in a sculpted A line with that very specific shape. It widens out as it nears the hem and moves beautifully around you when you move while still holding that wonderful shape. A wide band of fabric circles all the way around the hem and this is what gives it a slight bit of added weight and structure to help hold the intended shape. It is a beautiful dress. Excellent condition.

The bodice is fully lined in a red silk and the lower panel of the skirt is a double layer of the same fabric. The skirt between is unlined. It closes with a back hidden set zipper. It appears to have been worn very little if at all. Tagged a modern Valentino 44

Bust: 17" flat across the back seam and each cup is 8" across at the widest point
Band under the bust: 14" flat across from side seam to side seam
Hips: 19.5" flat across from side seam to side seam
Bodice: 10.5" from top of shoulder to the top seam of the band under the bust.
Skirt: 52" from the seam under the bust (and including the 1" band) to the hem

Modern Sizing Equivalent: SML-MED

Item# DD4030

Reference Photos: Fall 2012 Valentino Runway Collection, Looks 24 & 25.

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 Chanel Cruise collections have an interesting history. Gabrielle Chanel actually sailed and her love of the sport led to her inception of a 'cruise' collection in the 1920s. She was not the first to come up with this concept but hers were among the first to show a complete collection in a fully fledged show. They eventually fell off in popularity and it was not until Karl Lagerfeld took over Chanel that the cruise collections started again.

A one shoulder version of this dress walked the runway that season for Look 36. This was a very successful collection and was lauded by critics. Vogue said that 'It was like something out of a quintessential Riviera movie.... And like the carefree starlets and jet-setters they were channeling, the models traipsed down the street-cum-runway often barefoot, wearing seventies-ish diaphanous caftans, long crocheted dresses, ruffle-lapelled silk jersey trouser suits, and patchwork denim skirts.' They noted that 'Key, of course, is that lightness of touch, the sense of enjoyment and ease. And with fashion once again experiencing a 1970's revival, the show also ended up feeling—as Lagerfeld's Chanel outings often do—very much of the moment.' And the location choice? Karl said the location was a personal choice "I spent many years of my life here," he said. "I know Saint-Tropez like I know Paris. The collection is very casual, very down-to-earth." Of course only Karl and Chanel would think a gold knit ribbon dress is casual, to the rest of us this is an incredibly glamorous dress.

The dress is so beautiful. For all the talk of the seventies influence on this collection this one definitely has a nod to the twenties, a decade that Karl often touched upon. The base of the dress is made out of a knit that combines a natural deep linen shade cord that has a gold metallic thread woven through it with a gold grosgrain ribbon. These two fabrics are what make up the whole of the dress. For the bodice, and parts underneath the ribbons parts, the two fabric are woven into a chunkier knit and the final effect is gorgeous. The weave is set vertically and then where each panel of vertical ribbons starts there is a band of that same woven knit applied horizontally. Between the panels are gold ribbons hung vertically and caught up at both ends. Interspersed with those is the same cord that was used to create the base. These together and strung like they are create this magical straw and raffia feel that gives the dress depth and movement. There are two rows of that stacked on top of each other with the top one not as wide as the one that goes around the hips. Under the bottom row the ribbon and cord are allowed to fall to the hem like a long fringe. So when you move these create incredible movement as they swish and swoop around you. I feel like this one is more flattering then the runway version was. It gives more shape and definition whereas the runway one added bulk through the middle to me. This one just falls over you and is super easy to wear and just a really interesting and unique dress. The gold gives it that added glam factor and you could easily wear this for day with sandals and then go all out for an evening look. It would even make a great bridal piece for the bride not looking for something traditional or as a dress for an event surrounding the ceremony. It is just incredible. Excellent condition

Fully lined an a stretch lingerie feel jersey that makes it very comfortable to wear. No closures, it just slips on. Tagged a 38 but it does have stretch. I have given the comfortable range of measurements below. It appears to have never been worn or worn very little.

Bust: 16.5-19" flat across from side seam to side seam
Waist: 16.5-20" flat across from side seam to side seam
Hips: 17.5-23" flat across from side seam to side seam
Length: 54" from top of shoulder to hem

Modern Sizing Equivalent: XS-MED

Item# DD4027

Reference Photo/Video: Chanel 2011 Chanel Runway Collection, Look 36. Model: Sara Blomqvist.

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 incredible dress was shown for Look 62 on the Fall 2006 runway. This dress is quintessentially Oscar in feel and Vogue agreed with that sentiment with journalist Nicole Phelps saying; 'While other designers flit from one influence to another, Oscar de la Renta has made a four-decade-long career of staying true to his brand of ladylike elegance'. On the runway the dress was styled with long gloves and a wide expanse of black silk tulle wrapped around the neck. Once those styling elements are stripped away you really see how beautiful the lines of the dress are. 2006 was an important year in Oscar's history. This is the same year that Parsons awarded him with the Lifetime Achievement Award at their 58th Annual Benefit and Fashion Show. No matter how gorgeous this dress photoed it can't come close tot he impact it has in person. It is literally covered with sequins from top to bottom and is just mind blowing to see in real life.

This Oscar de la Renta dress is absolutely gorgeous. It is red carpet worthy and would even make an amazing wedding piece for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. The dress is made up of four layers of silk which give it the light floating quality it has. The top layer is a netting that you can see has been completely covered with sequins. Then under that are are three more layers of black silk tulle. The sequins that cover the dress are a mix of silver and gold. They catch the light from every angle and I love the mix of the metals as it gives you endless styling opportunities. All of the sequins are done in different shapes and sizes. They are set to overlap each other and are very tightly spaced over the top part of the dress and then as they run past the hips and down the skirt they start to be spaced further apart so that you get more of a sense of the black netting underneath. It gives it this amazing floating feel. It makes me think of stars and the night sky. Running around the the neckline is a dense band of large gold toned beads and crystals. A smaller band of the same bead and crystal work runs around the opening for each arm. The dress is cut to be fitted to the body to below the hip. from there it flares out dramatically around you in a pouf of skirting. The back is cut longer and fuller for a beautiful sweep of fabric behind you. It is very well made and absolutely stunning in person. Excellent condition.

The inner layers of the black netting act as the lining through the bodice and hips. Below that the skirt is constructed from four layers of silk tulle as described above. It has a back zipper closure and an inner grosgrain waist stay that hooks to close. Tagged a size 2. It appears to have been worn very little if at all.

Bust: 16" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam with the inner waist stay hooked, 13" of left unhooked
Hips: to 19" flat across from side seam to side seam
Length: 62" from shoulder to front hem, 72" to back hem

Modern Sizing Equivalent: XS-SML

Item# DD3613

Reference Photos/Video: Fall 2006 Oscar De La Renta Runway Collection, Look 62. Model: Emina Cunmulaj.

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 runway piece from the Spring 2012 collection. From the day the label officially launched in 1923 as a repair and made-to-measure shoe shop in Italy, the label has had a loyal following. Salvatore only designed his first bag in 1949 and added scarves in 1955. In 1960 Salvatore passed away and his wife took over the business. It was her that launched a ready-to-wear line in 1965 and began the label on the path to what we know it as today. Women like Elizabeth Taylor and Brigitte Bardot were huge fans of the label. The Ferragamo label has been known world-wide for pieces that incorporated gorgeous graphics and cutting edge designs. This dress is extremely well made and a very dramatic and bold dress that will definitely turn heads. 

I love that we found some runway footage so that you can see just how spectacular this dress is on and moving. The fabric is feather light so that your slightest movement causes the dresses to float and billow around you. It is made from a feather light silk lame chiffon with various animal prints across its surface. The gold is created by gold lame thread woven directly into the silk with some areas of the print having a denser application of the gold and some less. This causes the entire dress to catch the light and shimmer from every angle. The bodice is made from single panel of fabric that is attached at the front of the waist and then extends up and over the breasts to a high collar. An attached panel of the same fabric can be wrapped around the neck, tied onto a bow or be left to trail down the back. I love how the halter is set slightly in an off-set angle so one side of your collarbone is slightly more exposed than the other. Under that is a band set around the waist for definition and shape. This circles all the way around you and then above it at the back you are left completely bare for a very sexy exit. An attached softer belt in the same fabric wraps over that. The skirt is remarkable. It is in its original supermodel length and made out of three layers of silk. It is constructed to have this incredible fullness and movement. The fabric is so light and fine that when you stand still it falls in a pretty column around you without adding bulk. You still get a hint of the fullness that it has but when you move the many yards of fabric that is actually there allows the skirt to billow out around you. The fabric is so light and airy that when you walk it creates this incredible floating sensation. There is also a high slit on one side that allows some leg to flash. As good as it looks here it only really comes to life once on. It is an incredibly beautiful dress and no matter how good it looks in the photos the sensation and tactile feeling of the fabric and lightness when you have it in hand is just phenomenal. It is a beautiful and glamorous dress that is red carpet worthy and would make an amazing wedding dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. And of course it could also be worn to any big event. This dress was well over $10k when it was first released. Appears to have been worn very little if at all. Excellent condition with a minor note below.

The halter is backed with gold silk so it is opaque and the skirt is lined in an layer of neutral silk chiffon and then a layer of a gold finished silk chiffon lies over that. It zips to close with a low set zipper at the back and then the attached waist band hooks to close with a slide hook. Another slide hook closes the collar at the back of the neck. The tie is attached to the collar. I see some minor repairs to the hem of the skirt. There is so much fabric that you would only ever see them if its laid out flat and looked for. There is a slight pull near the waist. Please see the photo after the label shot. Tagged a Ferragamo 40.

Bust: has no fixed side seams. The halter covers to approx 18" across at the widest point
Waist: 12.5" flat across from side seam to side seam
Hips: open
Bodice: Approx 15" from neck to bottom seam of .75" waist band
Skirt: 48" from bottom seam of band at the waist to hem
Neck: 13" from end to end
Slit: 32"

Modern Sizing Equivalent: XS-SML

Item# DD4026

Reference Photos/Video: Spring 2012 Salvatore Ferragamo Runway Collection, Look 38. Model: Daphne Groeneveld.

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 chic 1970s Christian Dior dress from the Marc Bohan years.  I recently sold a black jersey one that was very similar and this one has the same feel but from a slightly earlier time period. it is a wonderful example of the work being done during this time period and shows the restraint that the label could have when it delved into minimalism. It dates to the mid - late 1970s and it is a very easy and comfortable dress to wear. Don't let the simplicity of it fool you. This is a dream to wear and the simple lines are offset  by the high quality silk chiffon and the ease and beauty it has once on.

The dress is made from a deep blue silk chiffon that drapes beautifully over the body. The bodice has an almost squared off feel to it with a straight across neckline at both the back and the front. I love how it dips lower at the back for a touch of sexuality and bare skin to offset the simple lines. It is cut to skim over the bust and then it widens out slightly as it nears the waist line. The waist seam is slightly dropped to lengthen the bodice. This play on proportion gives the dress a touch of an unusual feel but without needing anything extra in terms of ornamentation. It comes with a matching silk tie and you can tie this around the top of the hips where the waist seam ends or use it to have the dress sit higher up so that the top blouses over and shortens the skirt. Which is a nice way to extend the wear of the dress as it gives you two looks. The skirt is set into the dropped waist seam in a series of seamed pleats that then open out at just under four inches under the seam so the skirt has the ability to softly move around you when you move. And it has pockets. The inside construction is beautiful with primarily hand finishes making it made to demi-couture standards. This is a dress that you just slip on and it is perfect for day or evening. You can also extend its life by layering things under or over it for a full range of looks. Excellent condition.  

Fully lined in a hand set blue silk. It closes with a back set zipper and the skirt snaps to close over the zipper. Pockets along the seam of each hip. I see a couple of small marks along the seam of the skirt otherwise, it looks to have been worn very little if at all. Hand finishes throughout

Bust: to 16.5" flat across from side seam to side seam
Waist seam: to 13.5" flat across from side seam to side seam
Bodice: 17.5" from top of shoulder to waist seam
Skirt: 37" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD4025

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 was moved from Givenchy to Christian Dior in October of 1996 and stayed there until he was dismissed in February of 2011. This dress is from the Fall 2006 collection and was a piece that would have been produced in limited quantities. The dress appears to have never been worn. Every season a series of beautiful pieces were produced alongside the more flamboyant runway pieces and these really show the blend between John's talent and the heritage of the house.

This is a beautiful dress that showcases the restraint and elegance that the best of the labels work has always had all through its decades of its history. It is pieces like this that truly give the word timeless its meaning. The dress is cut to a supermodel length and that extended back skirt make it feel even longer. Everything about the cut is done to lengthen the girl wearing it and give her one long and beautiful line. The shoulders are slightly squared off, but not in an exaggerated way. The sleeves are long and and cut fairly straight with a neat little button in the same fabric at each cuff. The bodice of the dress is cut to skim over you with a bot of a blousing over at the waist. The waist is seamed for shape and it has a tie made from the same fabric that is attached at one side and then looped through an opening on the other. This lets you cinch in the waist as much as you need to but without having a full belt there. The end of that tie is very long and trails down the one side of the skirt for a pretty detail. The back is done in direct contrast to the coverage of the front. It is cut into a deep open V that leaves most of your back bare and open. It also blouses just a touch like the front did and I love the soft curve this creates and how it softens the starkness of the plunge. All of these design details are so subtle yet all add up to a stunning silhouette. The skirt falls from there to the floor in a great sweep of fabric. from the front it falls and widens out as it nears the hem and at the back it has extra panels so that it widens and extends out behind you. It is simple and refined and yet full on drama. There is not a single unnecessary seam and it is just a stunning dress that is beautiful to see in person. Excellent condition

Fully lined in a red silk and closes with a low hidden set zipper at the back. Each cuff buttons to close. It appears to have been worn very little if at all. Tagged a modern US6, IT42, GP10, FR38

Sleeves: 24"
Shoulders: 15"
Bust: 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam and can be cinched in with the tie as described above
Hips: to 20" flat across from side seam to side seam
Bodice: 15" from neck to waist
Skirt: 47" from waist to front hem, 60" to the longest point of the back hem

Modern Sizing Equivalent: SML-MED

Item# DD4020

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 dress from her Spring 1966 Haute Couture collection is exceptional and also very sexy.

In the book 'Madame Gres' there is a section that talks about the direction of each collection. In the notes for Spring 1966 it notes that 'A reflection on the notion of the 'sexy' garment led Madame Gres to modify the very structure of her draped dresses by creating triangular cut-outs on their bodices, thus revealing the body between the folds. This play on a eroticism characterized the technique of a 'later' drapery in the fashion designer's business, from 1966 to go to 1988.' or in other words, it was the beginning of a new direction in the work that she was doing. The owner also provided a photo of the twin of this dress from L'officiel that season, making it a rare documented piece from this time period for her work. Whenever you have a dress that is photoed and a part of a key change in direction for a designer it makes it a piece of note. The fact that it is spectacular is just a happy bonus. It is truly a dress that makes you gasp out loud when you see it just because of how amazing it is. I was so pleased to have the reference photo so you can see just how fabulous it is on the body.

The dress itself is spectacular. It weight ounces. It is made out of a printed silk chiffon organza that has a touch of transparency to it. She meant it to have this effect so that you get a glimpse of the body underneath, but at the same time the dress is layered in places to give you some coverage. The colours mix deep reds, coral and yellows in curving swirls over the silk. The bodice is scooped and skims over you curving down into a point at the waist to meet the skirt. At the back it has an almost racer back feel with a curved cut out design that also curves down to meet the skirt and leaves the sides of your back bare. The waist is left exposed on both sides and I love how all of the edges are set on curves meant to flatter and shape the body. The skirt is suspended from just those two tiny points and yet sits perfectly on the body. It is genius really. At the front it falls in a column of silk that gently widens out as it nears the hem. At the back there is a high slit up the center but she has added a panel that falls over the center of the skirt to hide this. It's sexuality but in a very subtle way. This also gives the dress an extra bit of movement that it would not have otherwise. Inside there is a built in bottom that gives you coverage to off set the slight see-through quality of the dress. It is a piece that is literally meant to be worn on its own with nothing else underneath. There is not a single zipper to be found on the dress. It closes with hidden set hook & eye and snaps. The proper Haute Couture label is present and it is made by hand. It is a remarkable and rare piece of fashion history. Excellent condition

Unlined through most of the dress with a built in bottom. The back of the front bodice is lined with a nude silk and I suspect that this was added later by the owner as it looks to be done by a combination of machine and hand work whereas the rest of the dress is all done by hand. There is elastic looped through the edges of the bottom and it closes with a hook & eye on the top of one shoulder, at one edge of the top at the side and then along a curving seam at the waist. It appears to have been worn very little if at all. It is fantastic.

Top seam of skirt: 15" flat across from seams to seam and the side edge of that sits at approx 19-20" down from the shoulder
Skirt hips: 18" flat across from side seam to side seam
Bodice: 16.5" from top of shoulder to where it meets the skirt at the front
Skirt: 40.5" from center point of the waist to hem
Inner Bottoms hips: 17.5" flat across from side seam to side seam
Inner bottom gusset:

Modern Sizing Equivalent: XXS-XS

Item# DD4021

Reference Photo: Model wearing Madame Gres for L'Officiel, Spring 1966. Photo by Dominique Laporte.

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

Louis Feraud opened his first boutique in 1950 in Cannes selling sundresses to the jet set. When Brigitte Bardot was photographed in a white pique and lace number, he became the darling of the fashion world. By 1956 he had moved to Paris and opened a couture atelier and in 1960s made hos first official couture presentation. Ready to wear followed in 1970. He won the Golden Thimble in in 1978 and again in 1984. Women like Elizabeth Taylor and Brigitte Bardot were huge fans of the label. This is a wonderful dress from the early 1970s that shows his depth as a designer.

This is a gorgeous dress. It can be worn like a caftan or you can cinch it in with the matching braided belt. And of course being Haute Couture it is tremendously well made and very special. The dress is made from a fine silk and wool jersey that is so soft on the body that wearing it is incredible. The colour is a soft red that is just a bit lighter then the red in these shots. The dress is cut to be full and oversized through the body so it is exceptionally easy to wear if you choose to wear it without the belt and then when you add the belt it transforms into a dress with more shape. It's generous and open cut will suit a large range of body sizes and types. The sleeves have a touch of fullness to them so that they pouf above the cuffs. The neckline is cut into a very low notched slit at the front and is held in place by a series of ties that I have ties into little bows to run down the front. These keep it in place while still allowing a flash of skin to peek through between each one. It falls to the floor, gently widening out as it nears the hem. It is cut to be very loose and easy through the body. I love the silk lined pockets that sit along each hip. What takes the dress to couture level is the wonderful hand down sequin work that adorns the shoulders, cuffs and circles the hem. Each of these areas have a layer of an Indian printed tissue silk. The printed areas that you see would have all been done by hand and of a vegetable dye. Then the pattern on the silk has a hand embroidered outlined done in a silver metal thread. Tiny silver sequins detail the patterns and then various embroidery and beads finish the patterns. I have had it looked at by a couple of people and we all agree that he most likely sourced/had made original fabric from India for this piece. Inside it is entirely finished by hand and I have included a photo of the inner hand finished seams. It is stunning. Excellent condition with a note to review below

Slips over the head to wear with no closures. Ties at the front and each cuff also ties to close. Matching braided tie belt. Some of the silk overlay has shattered at the top of one shoulder and there are reinforcing stitches added that can be seen inside. With the placement and colour there you don't even see it once on.  See a spot in the back of one elbow. Please see the photos after the label shot. The dress is entirely made by hand to Haute Couture standards. The loose and easy cut should work on a full range of sizes. 

Sleeves: approx 25"
Shoulders: no true shoulder seam
Bust: to 28" flat across from side seam to side seam
Waist-hips: open
Length: 59" from neck to hem
Width of upper sleeve: 16" around

Modern Sizing Equivalent: SML-LRG

Item# DD4022

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

This was the first collection after an incredible 50 year celebration the year before and Angela Missoni was clearly still celebrating the kaleidoscope of colours that the house is known for. Big silk cabbage roses were shown on several of the pieces throughout the show, including the twin of this dress which was Look 39 and worn by Erin Wasson. These were styled for the show this way and it would be easy to recreate if you loved the look. The show had many pieces that touched upon a caped feel which gave everything a wonderful pretty touch and added lots of movement. Vogue mentioned this dress specifically in their review that season saying; 'Dramatic evening gowns in colored Lurex or vibrant kaleidoscope prints, suspended from jeweled halters, suggested Sharon Stone's va-va-voom wardrobe in Casino, while a fringed knit dress looked as though the model had wrapped herself in a twenties shawl—a dramatic gesture worthy of the Belle Époque dancer Loie Fuller, actress Eleonora Duse, or society beauty Consuelo Vanderbilt, all of whom Missoni cited as influences." The dress is gorgeous and just an amazing piece of Missoni. It was obviously a favorite from that season as it was also used in their ad campaign featuring Kate Moss.

If not for the fringe, this dress would weigh ounces. The silk chiffon used is as fine and light as a fabric can be. It is completely covered in a print that mixes pinks and greens and corals. The edges are finished in a flat braiding that runs along the inner edge. This helps to give the dress some structure. The fabric has a transparent feel to it and it is the draping of the shawl part of the dress that make it opaque enough to wear while still having flashes of transparency between where it layers over. The bodice is suspended from the shoulder and there is a silk chiffon bralet inside that gives the barest hint of support. It falls over the body from there skimming past the waist and over the hips to an angled hem that is then finished with the long fringes. Both the front and back are plunged and scooped. A long attached piece is set on an angle at the back and it is this piece that you wrap around yourself to create the look that you want. I have shown it a few ways and if you added a clip or brooch I bet you could come up with dozens of more options. The fringe work is amazing and combines a soft green with ivory fringes. It is an incredible and versatile dress that has lots of impact and movement. Excellent condition

Unlined and slips on to wear. The back bralet hooks to close. No size tag present but it's easy cut should work on a variety of sizes. It appears to have never been worn or worn very little.

Outer layer bust: No true side seams and approx 15" across
Inner bralet: is a stretch fabric and covers approx 7.5" across at the widest point of each cup. The band is elastic and stretches from 29-36" end to end. The cups will cover approx an A- B cup
Waist: to 15" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 60" from shoulder to bottom of fringes on the main dress and the attached fringed shawl that you wrap around you extends out another 98" from the body of the dress to the end of the longest set fringes.

Modern Sizing Equivalent: XS-MED

Item# DD4018

Reference Photos/Video: (1-4) Fall 2004 Missoni Runway Collection, Look 39. Model: Erin Wasson.  /  (5) Kate Moss for Missoni Fall 2004 Ad Campaign. Photographed by Mert Alas & Marcus Piggott.

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 exceptional dress is from the Marc Bohan for Christian Dior years and it is a wonderful example of the work being done for the house during this time period.  This dates to the 1973 and we found a similar dress in a green colurway that was shot that year.  This one is a more yellow based colour palette that we associate with that era. Dior under Bohan was integral to the label's development over the decades that he headed the atelier and even beyond that, it is just an extraordinarily beautiful dress.

The silk chiffon that has been used to construct this dress is wonderful. It combines several shade of yellow with soft pastel tangerines and ivory. The print runs over the entire dress and is very beautiful. The combination of the silk, the halter top and the ruffles give the dress a soft and romantic feel. The cut of the dress feels simple but the bodice is actually quite genius. The front bodice is made of two wide gathered triangle panels of silk that start from the empire waist and then extend up into wide straps. These curve up and around the back of the neck where each is attached to large round disc. The back of the dress has a third triangle that is cut wider to attach across the back waist. It also extends up to attach to that disc. The disc is made out of what looks like an early plastic that has been dyed to the palest green. The inner edge of the circle is finished in a gold trim. It is very pretty. The triangle shapes at the front create a low V shaped plunge that goes right to the high set waist there. The sides are left open and bare and I love that detail. There is a band at the waist for shape and then a separate sash that ends in a long bow that wraps and snaps into place around you. The bow sits at the front for a soft detail and the ends of it extend to trail down the front of the skirt. Under the high waist the skirt skims over the hips and then opens out to be very full. The hem is finished with a wide ruffle finish in the same silk chiffon and this adds to the feminine feel that the dress has. The volume through the skirt is achieved by the many yards of silk chiffon it is made out of. It's genius. The volume in the skirt really becomes apparent when you move and it billows out around you to give the dress a light and airy feel. The dress is gorgeous and even better in person. This is a piece that will really come to life once on an actual body. Excellent condition with minor notes below.

The dress is fully lined in a pale ivory silk chiffon through the skirt and the top is lined in the same fabric. The dress has an inner foundation piece through the waist and it hooks to close there. The lining then snaps over that and the waist hooks to close all of it. The bow sash snaps and hooks into place. Hand finished throughout and hand rolled edges. I see an area on the back of the disc where silk was used to repair / reinforce part of the attachment. You don't see this when on. I also see repairs and signs of shattering in areas of the silk lining of the skirt mostly along the seams and near the snaps but also in the body of the skirt that have been reinforced with invisible tape. I have left is as found since it is all original and it does not comprise being able to wear it as is now. The skirt lining could easily be removed or replaced if needed down the road. The dress is wearable but with care as parts are delicate.

Bust: no true side seams but each triangle is approx 9-10" at its widest point across
Empire waist under bust: 13.5" flat across from side seam to side seam
Hips: open
Bodice: approx 9-10" from top of neck straps to high waist
Skirt: 42" from waist to hem

Modern Sizing Equivalent: XXS-XS

Item# DD4019

Reference Photo: (1) Spring 1973 Christian Dior Runway.  /  (2-3) 1973 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.

Thea Porter combined exoticism, embellished ornamentation and luxurious fabrics in her pieces and her work was a phenomenon during her day. This is one of her Gipsy dresses and it has been one of her most loved styles since it was first created in 1968. The Thea Porter book that accompanied the 2015 Fashion and Textile Museum exhibit "Thea Porter 70s Bohemian Chic" (for which over a dozen pieces were pulled from my archives) has many example of stars from that time period wearing their versions and Kate Moss is perhaps the most notable of modern girls who have one and caused a sensation when she wore her blue version for her wedding rehearsal in 2011. I was thrilled to find that The Met Museum has a near identical dress to this one on their archives.It is truly a very special piece.

The Thea Porter book states that the Gipsy dress was 'generally made out of A combination of three different fabrics, which give it an enduring variety. If the skirt was in plain cloth cotton, the bodice was usually in brocade… We made the dress in every conceivable fabric, from embroidered chiffon to liberty cotton‘s to velvet…. The silhouette of a slimmer torso combined with a full skirt (composed of 4.5 m of fabric) and sleeves became the basis for Porter‘s gypsy dress'. The book goes on to talk about the cut and design of these dresses saying that 'the bust became an integrated part of the body, ending directly below the breasts to create an empire line. The cut is such that the bust is held in securely, yet pushed up, removing the necessity of wearing a bra. The uneven hem of the Gipsy dress evolved as a form of collaboration between Thea and one of her first seamstresses, Meg Lake, who was self taught and didn’t realize that a circle of fabric cut on the bias would fall irregularly and need to be trimmed. Porter love that effect and the mistake became a design signature.' The bodice of the dresses often were crafted in antique brocade silk like we see on this dress and then Thea added velvet ribbon trim. This is a classic Gipsy dress that follows all of those design tenets.  The bodice is fitted and made from and antique silk. A purple velvet ribbon details the cut of the bodice and also is set all the way around the hem. The huge balloon sleeves are a single layer of a printed silk organza and have a touch of transparency to them. The skirt is two layers, An inner deep purple satin finish rayon cut on the bias and then floating over that is the same printed silk organza as the sleeves. The silk of the skirt starts just under the bust and is cut to accentuate the waist and the flares out in yards of silk. It has that perfectly imperfect asymmetrical hem described above so one side falls slightly longer then the other. It is just wildly gorgeous. Great condition with minor notes below

The bodice and sleeves are unlined and the skirt is lined as described above. It closes with a back set zipper and each sleeve has elastic at the cuffs. Slight rubbing to the purple velvet here and there. I see stress at some of the vertical seaming around the waist mainly at the back. There is a bit of invisible mend tape inside the top of one shoulder and the top of the other shoulder shows stress to the fabric but is sound. Stress to the fabric and a signs on a small mend on the side seam of the bodice where the skirt attaches. The dress is sound and wearable and these are all minor but mentioned for accuracy. Please see the five photos after the shot of the sleeve.

Sleeves: 22.5"
Shoulders: no true seam
Seam under the Bust: 14" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: open
Bodice: 11" from neck to seam under the bust, 15.25" to waist seam
Skirt: 30" from waist to shortest points of hem, 41" to longest

Modern Sizing Equivalent: XS-SML

Item# DD4017

Reference Photos: (1-2) Kate Moss in Thea Porter, for her wedding rehearsal, 2011.  /  (3) 1970 Thea Porter Dress from The MET Collection Online.  /  (4) Jane Fonda in Thea Porter.  /  (5) Model in Thea Porter, credit unknown.  /  (6) Joan Colins in a Gipsy Dress, with her sister Jackie in a robe with trailing sleeves over trousers, in two versions of Sheila Hudson's butterfly print, at the opening of the musical "1776" in 1970. From the book "Thea Porter: Bohemian Chic" by Laura McLaws Helms and Venetia Porter.  /  (7) Floral cotton voila Gipsy dress, 1969. Photography by Willie Christie. From the book "Thea Porter: Bohemian Chic" by Laura McLaws Helms and Venetia Porter.  /  (8) Actress Sharon Tate arriving at a party with Peter Sellers. She wears a Gipsy dress with moire bodice and polka-dot chiffon skirt and sleeves. London, July 1, 1969. From the book "Thea Porter: Bohemian Chic" by Laura McLaws Helms and Venetia Porter.  /  (9) Charlotte Rampling in Thea Porter, 1970s.

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 Anthony is an award-winning American fashion designer best known for simple, elegant clothing with a strong sense of chic. His work veers towards minimalism, with sharp tailoring, striking evening wear being his signature. He is renowned for his cutting and tailoring. From the day that he launched his atelier in 1971 his design philosophy is a fusion of function and purpose. The function is his logical, wearable approach; the purpose, his pared-down ideas. As a designer, he considers it his job to make things easy for the customer. He designs with focus and a narrow palette for both day and night, so items can easily intermingle. He uses natural fabrics and is noted for contradictory daywear fabrics in his evening collections. In the early 70’s he was one of the first designers to promote the idea of easy-to-travel clothes that resist wrinkling. By 1976, he was showing soft, liquid separates in muted colours that became his trademark and received 2 Coty awards, one in 1972 and one in 1976, as recognition. His business was all done on a made to order basis. That means the majority of pieces you will find are a one-off, or if there are similar pieces, very few of each piece exist. This personal attention to each dress is clearly seen in the workmanship of his pieces. His work is very expensive and beaded pieces did, and still do, retail for over $10,000. His work is a personal favourite of mine and I am thrilled to begin to offer this second round of a dozen exclusive pieces and samples that John pulled from his own archives.

The level that this dress is made to is a beautiful thing to see. It has all those lovely details that you expect in a couture level garment. The entire dress is made from a light gold lame mesh and then it has been extensively beaded. The cut of the dress is fairly simple. The bodice is more fitted and the neckline extends up to a choker collar that wraps around your neck. It skims over your waist and then falls to around mid-calf to ankle depending on your height. The halter cut neckline leaves your entire upper back bare. It really has that feel of those fifties bombshell dresses to me in cut. The base fabric is a gold lame that is soft to the touch He has used the same fabric without beading to line it and this gives it an extra depth and metallic feel that you don't normally get when you just use a single layer backed in silk. The dress is entirely covered in thousands of floral beads, tiny little beads to add dimension and gold tube beads that form little leafs around the flowers. It is incredible and very elaborate. These are scattered over the entire dress and then the collar and hem are densely covered in the same bead work as the rest of the dress, but done so that there is no fabric showing between the beads. This dense coverage gives the feel of wearing jewels at the neck and adds weight to the hem so that it fall perfectly no matter how you move. A gold pipe bow with extra long ties sits at the back for a little detailing. The hours of work that it would have taken to implement the detailing on this dress is mind boggling. 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. Made to demi-couture standards. Excellent condition.

Fully lined in the same gold lame fabric as the exterior. It closes with a hidden set zipper down the back and the collar snaps to close. Hand finished throughout. The fabric has slight stretch.

Bust: to 16.5" flat across from side seam to side seam
Waist: 13.5-15" flat across from side seam to side seam
Hips: 17-19" flat across from side seam to side seam
Length: 54" from base of neck collar to hem
Neck: 13.5" around and 2.5" high

Modern Sizing Equivalent: XS-SML

Item# DD4015

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 Anthony is an award-winning American fashion designer best known for simple, elegant clothing with a strong sense of chic. His work veers towards minimalism, with sharp tailoring, striking evening wear being his signature. He is renowned for his cutting and tailoring. From the day that he launched his atelier in 1971 his design philosophy is a fusion of function and purpose. The function is his logical, wearable approach; the purpose, his pared-down ideas. As a designer, he considers it his job to make things easy for the customer. He designs with focus and a narrow palette for both day and night, so items can easily intermingle. He uses natural fabrics and is noted for contradictory daywear fabrics in his evening collections. In the early 70’s he was one of the first designers to promote the idea of easy-to-travel clothes that resist wrinkling. By 1976, he was showing soft, liquid separates in muted colours that became his trademark and received 2 Coty awards, one in 1972 and one in 1976, as recognition. His business was all done on a made to order basis. That means the majority of pieces you will find are a one-off, or if there are similar pieces, very few of each piece exist. This personal attention to each dress is clearly seen in the workmanship of his pieces. His work is very expensive and beaded pieces did, and still do, retail for over $10,000. His work is a personal favourite of mine and I am thrilled to begin to offer this second round of a dozen exclusive pieces and samples that John pulled from his own archives.

This dress is a version of his famous wrap dress that you see in the add I have included here. This is a more structured, supermodel long version of that and made of an incredibly beautiful gold silk charmeuse. The dress is very sexy and shows off some skin but still feels very elegant and refined. It has a bit of a bias cut to it through the body. It is really a dress meant to be on an actual body and not a mere dress form. As good as it looks here it only really comes to life once on. The pale gold silk charmeuse that he has chosen as the fabric drapes like a dream and it is heaven on. It just glides over your body and falls like nothing else. It is cut on the bias so once you slip it on, the seaming and bias cut drape the dress over you and it feels like you are wearing nothing. I love the wider straps that curve up and over your shoulders and how he has put a little band of fabric to gather it in where it meets the bodice. It is such a pretty and feminine touch. At the back it is scooped down into a V to leave most of your upper back bare. The front plunges down right to the waist for a very sexy feel. The silk is then gathered in toward the base of the plunge at the waist and there is a knot made of the same gold silk there for detailing. The skirt falls under that in multiple curving drapes of gold down the front. It widens out as it nears the hem and flows beautifully around you when you move. There are actually several yards of fabric in the skirt and it has more volume then it looks just standing still. It is pure golden magic and one of the best silk dresses I have seen. It has this wonderful feel of the thirties while still feeling nothing less then modern. It is a beautiful and glamorous dress that is red carpet worthy and would make an amazing wedding dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. And of course it could also be worn to any big event. Excellent condition.

Fully lined in a pale gold tissue silk and closes with a back hidden set zipper. It has an inner waist stay that has a hook. Cut on the bias and hand finished throughout. Made to demi-couture standards. There is the slightest bit of grubbiness here and there on the hem from storage but other wise looks to have been worn very little if at all.

Bust: 15-18" flat across from side seam to side seam
Waist: 13-14" flat across from side seam to side seam
Hips: open
Length: 67" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4014

Reference Photos: (1-2) John Anthony Ad for Bergdorf Goodman, October 5th, 1980.  /  (3-5) Crystal Reed in this dress for the premiere of Teen Wolf, January 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.

John Anthony is an award-winning American fashion designer best known for simple, elegant clothing with a strong sense of chic. His work veers towards minimalism, with sharp tailoring, striking evening wear being his signature. He is renowned for his cutting and tailoring. From the day that he launched his atelier in 1971 his design philosophy is a fusion of function and purpose. The function is his logical, wearable approach; the purpose, his pared-down ideas. As a designer, he considers it his job to make things easy for the customer. He designs with focus and a narrow palette for both day and night, so items can easily intermingle. He uses natural fabrics and is noted for contradictory daywear fabrics in his evening collections. In the early 70’s he was one of the first designers to promote the idea of easy-to-travel clothes that resist wrinkling. By 1976, he was showing soft, liquid separates in muted colours that became his trademark and received 2 Coty awards, one in 1972 and one in 1976, as recognition. His business was all done on a made to order basis. That means the majority of pieces you will find are a one-off, or if there are similar pieces, very few of each piece exist. This personal attention to each dress is clearly seen in the workmanship of his pieces. His work is very expensive and beaded pieces did, and still do, retail for over $10,000. His work is a personal favourite of mine and I am thrilled to begin to offer this second round of a dozen exclusive pieces and samples that John pulled from his own archives.

This silk chiffon and lace dress is insanely sexy on the body. It has a definite nod to a lingerie piece and it is extremely beautiful. The dress somehow manages to be very sexy and yet very feminine and romantic at the same time. It is made from a deep blue silk chiffon with a dark brown layer of silk that lines the bodice behind the lace and is layered into the skirt. This choice of fabric gives the dress a beautifully lightness as it floats over the body and highlights your curves. The silk chiffon that the skirt is made from is topped by a fine lace used for the bodice. The bodice is cut in a halter at the front that glides over you and then curves over your shoulders and down the back. The front plunges almost to the waist but you have full coverage with the width of the fabric across the bust. The sides are the same lace and this gives you more support despite the low plunge of the dress. At the back it plunges right to the waist to leave a bare expanse of skin showing. All of the edges follow the natural pattern of the lace and this adds to the feminine feel that it gives. The lace is fully lined on this one in a dark chocolate silk chiffon. It is just tremendously beautiful. The lace and chiffon has just a slight touch of stretch so it conforms to your bodice. The lace is set over the fabric of  the skirt and the workmanship is exquisite where they meet. Under that the skirt is made up of multiple layers of silk chiffon. There is an inner layer of the blue and then a brown layer followed by another blue layer. Each of the layers has a slight transparency but when overlapped they make it opaque enough to wear. The top two layers are split up the center and curve up to the waist from the hem. This allows them to have incredible movement and lets you see that brown layer peaking out between the other two. There is a little bit of hidden sexiness there as well since as you move you do get glimpses of that innermost layer and its touch of transparency. It feels very naughty. Bias cut silk chiffon is incredibly difficult to work with and layering it like this and having it all fall so perfectly is an achievement. The skirt has a tremendous amount of fabric in it so when you move it will float and move around you. It is cut supermodel long in length and is just gorgeous to see in person. The photos cannot capture the lightness and movement of the fabric that it will have once on the body. It is made to demi-couture standards. Excellent condition.

Fully lined as described above and closes with a hidden set low back zipper. It appears to have been worn very little if at all. Hand finished throughout.

Bust: 16-18" flat across from side seam to side seam
Waist: 12.5-13" flat across from side seam to side seam
Hips: open
Bodice: 15" from shoulder to waist
Skirt: 52" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4011

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 Anthony is an award-winning American fashion designer best known for simple, elegant clothing with a strong sense of chic. His work veers towards minimalism, with sharp tailoring, striking evening wear being his signature. He is renowned for his cutting and tailoring. From the day that he launched his atelier in 1971 his design philosophy is a fusion of function and purpose. The function is his logical, wearable approach; the purpose, his pared-down ideas. As a designer, he considers it his job to make things easy for the customer. He designs with focus and a narrow palette for both day and night, so items can easily intermingle. He uses natural fabrics and is noted for contradictory daywear fabrics in his evening collections. In the early 70’s he was one of the first designers to promote the idea of easy-to-travel clothes that resist wrinkling. By 1976, he was showing soft, liquid separates in muted colours that became his trademark and received 2 Coty awards, one in 1972 and one in 1976, as recognition. His business was all done on a made to order basis. That means the majority of pieces you will find are a one-off, or if there are similar pieces, very few of each piece exist. This personal attention to each dress is clearly seen in the workmanship of his pieces. His work is very expensive and beaded pieces did, and still do, retail for over $10,000. His work is a personal favourite of mine and I am thrilled to begin to offer this second round of a dozen exclusive pieces and samples that John pulled from his own archives.

This dress is absolutely stunning. It is very light in weight once on the body and is made from the most beautiful silk chiffon. Bias cut silk chiffon is incredibly hard to work with and for this dress he has layered it with each layer falling perfectly over each other. The innermost layer is a black chiffon, then the middle is a deep purple burgundy and the very top is a deep steel blue. When layered over each other this gives the dress its unique colour and I love how you can see the different colours peeking out at the side with the ruffle. Once on, the front halter plunges with those same three layers of silk chiffon used to create a ruffle that follows the edge of the halter and give the front a soft and feminine finish. The back is equally incredible. The front halter curves up and over the shoulders and hooks to close behind the neck. The back is left completely bare under that and I love the curving cut of the sides. A braided belt wraps around the waist and closes at the front with two sparkling jet bead encrusted domes. The skirt falls from under there using the same three layers of silk. These wrap around you and then are set in a ruffle down the one side, This ruffle detail curves down and around to meet the hem. The ruffles hide a very high opening at the side so when you walk you will see a mile of leg. The silk is so light that your slightest movement causes it to float around you. To keep it from being completely scandalous he has hand sewn in weights along the side seam of the longer hem side of the skirt that keep it in place so you get movement through the skirt but it doesn't fly out so much that you are not covered. Just genius. Excellent condition.

Fully lined as described above and closes with a hidden set side zipper. Hand finished throughout. On the underside of the base ruffle layer there is a small area that looks like a glue on the fabric. You don't see it at all when on but mentioned for accuracy. There is also a very small amount of the same on the inside of the bust area. Please see the photo after the label shot.

Bust: no true side seams
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: approx 15" from top of bodice to waist
Skirt: 47" from waist to longest point of the hem
Side opening: 38" from longest point of hem up

Modern Sizing Equivalent: XS-SML

Item# DD4013

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 Anthony is an award-winning American fashion designer best known for simple, elegant clothing with a strong sense of chic. His work veers towards minimalism, with sharp tailoring, striking evening wear being his signature. He is renowned for his cutting and tailoring. From the day that he launched his atelier in 1971 his design philosophy is a fusion of function and purpose. The function is his logical, wearable approach; the purpose, his pared-down ideas. As a designer, he considers it his job to make things easy for the customer. He designs with focus and a narrow palette for both day and night, so items can easily intermingle. He uses natural fabrics and is noted for contradictory daywear fabrics in his evening collections. In the early 70’s he was one of the first designers to promote the idea of easy-to-travel clothes that resist wrinkling. By 1976, he was showing soft, liquid separates in muted colours that became his trademark and received 2 Coty awards, one in 1972 and one in 1976, as recognition. His business was all done on a made to order basis. That means the majority of pieces you will find are a one-off, or if there are similar pieces, very few of each piece exist. This personal attention to each dress is clearly seen in the workmanship of his pieces. His work is very expensive and beaded pieces did, and still do, retail for over $10,000. His work is a personal favourite of mine and I am thrilled to begin to offer this second round of a dozen exclusive pieces and samples that John pulled from his own archives.

This jersey and lace dress is insanely sexy on the body. It is almost unbelievably light in weight. It is made from a deep blue stretch jersey that allows it to drape beautifully over the body and highlight your every curve. That is then combined with a fine netted lace for the bodice and sleeve. The slight stretch that these fabrics have allow the dress to show off your curves while still feeling wildly comfortable once on. The bodice has an almost sculptural feel as it glides over you and then extends down to the one single long sleeve. The front and back of the bodice curves across you to leave the other shoulder and arm bare. All of the edges follow the natural pattern of the lace and this adds to the feminine feel that it gives. The lace is not lined. So it has a transparent feel to it and your skin peeks through the netting. You could wear something nude under it, use a colour for contrast or be very daring and go bare with just nipple covers. There is strategically placed lace at the front to make the bare option work. It is just tremendously beautiful. The lace has a touch of stretch so it conforms to your bodice then then is set around the waist on an angle. The lace is set over the fabric of  the skirt and the workmanship is exquisite where they meet. The dress then glides down past the hips to fall to the floor in a beautiful drape of deep blue jersey. The jersey is light and soft. It is almost like a very opaque, very fine silk jersey T-shirt fabric. Just incredible and it feels amazing against the skin. It is cut supermodel long in length. There is a high slit that runs up the same side as the one bare shoulder so that everything on that side is about that flash of bare skin. It is incredible and I love it. It is made to demi-couture standards. Excellent condition.

Unlined and closes with a hidden side set zipper. The cuff of the sleeve snaps to close with hidden snaps. It appears to have been worn very little if at all. Hand finished thgouhout. The fabric does have some stretch so should fit a range of sizes. The measurements below give you the comfortable range the fabric has when lying flat.

Sleeve: approx 25" with no defined shoulder seam
Bust: 15-17" flat across from side seam to side seam
Waist: 12-13.5" flat across from side seam to side seam
Hips: 17.5-20" flat across from side seam to side seam
Length: 65" from neck to hem
Slit: 34.5" from hem up

Modern Sizing Equivalent: XS-MED

Item# DD4009

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 Anthony is an award-winning American fashion designer best known for simple, elegant clothing with a strong sense of chic. His work veers towards minimalism, with sharp tailoring, striking evening wear being his signature. He is renowned for his cutting and tailoring. From the day that he launched his atelier in 1971 his design philosophy is a fusion of function and purpose. The function is his logical, wearable approach; the purpose, his pared-down ideas. As a designer, he considers it his job to make things easy for the customer. He designs with focus and a narrow palette for both day and night, so items can easily intermingle. He uses natural fabrics and is noted for contradictory daywear fabrics in his evening collections. In the early 70’s he was one of the first designers to promote the idea of easy-to-travel clothes that resist wrinkling. By 1976, he was showing soft, liquid separates in muted colours that became his trademark and received 2 Coty awards, one in 1972 and one in 1976, as recognition. His business was all done on a made to order basis. That means the majority of pieces you will find are a one-off, or if there are similar pieces, very few of each piece exist. This personal attention to each dress is clearly seen in the workmanship of his pieces. His work is very expensive and beaded pieces did, and still do, retail for over $10,000. His work is a personal favourite of mine and I am thrilled to begin to offer these exclusive pieces and samples that John pulled from his own archives. I have included a reference photo of Janet Jackson wearing a similar version of the dress that he made for her Today's Black Women cover in 1998. That design was based on this original piece from 1984. It is stunning

The dress is very light in weight and the fabric is absolutely beautiful. The innermost lining is a blue silk chiffon and then a blue net lace is layered over that. Then onto the are thousands of blue iridescent sequins that follow the pattern in the lace and cover the entire dress. This allows the dress to catch the light from every angle. The effect that it creates is stunning. The dress is strapless and the bodice is set on a curving sweetheart shape to emphasize the bust. The edges at the hem and bodice are done to follow the pattern of the lace and I love the touch of romance this gives to the dress. To wear the dress, the closures have been set down the front of the dress with a hidden zipper. Tiny little hidden set snaps are set to follow the edges of the lace and these snap into place over the zipper. So once you have it on there is no zipper line to break the eye. The snaps under the lace run to about the mid-thigh. This leaves a subtle slit under the overlapping sides. This gives you a flash of leg when you move or sit and it is very sexy. The lower hem is set on a curve so that it comes up slightly at the front and is longer at the back. The skirt is lined in a blue silk chiffon and this gives it a slight transparency in the light. I love the little rosette sitting at the side at the waist for the perfect finishing detail. It is a wonderful dress. Excellent condition.

Fully lined in a hand set deep blue silky rayon through the bust and a silk chiffon through the skirt. It closes at the front with a hidden set zipper and a series of hidden fabric covered snaps. Lightly boned through the bodice. Hand finished throughout. It appears to have been worn very little if at all. 

Bust: 16" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Bodice: 9" from the top of the bodice to waist
Length: 46" from the top of the bodice to longest point of the back hem

Modern Sizing Equivalent: XS-SML

Item# DD3831

Reference Photos: (1-2) Spring 1984 John Anthony Runway.  /  (3) Janet Jackson in John Anthony for Today's Black Women, June/July 1998.

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 Anthony is an award-winning American fashion designer best known for simple, elegant clothing with a strong sense of chic. His work veers towards minimalism, with sharp tailoring, striking evening wear being his signature. He is renowned for his cutting and tailoring. From the day that he launched his atelier in 1971 his design philosophy is a fusion of function and purpose. The function is his logical, wearable approach; the purpose, his pared-down ideas. As a designer, he considers it his job to make things easy for the customer. He designs with focus and a narrow palette for both day and night, so items can easily intermingle. He uses natural fabrics and is noted for contradictory daywear fabrics in his evening collections. In the early 70’s he was one of the first designers to promote the idea of easy-to-travel clothes that resist wrinkling. By 1976, he was showing soft, liquid separates in muted colours that became his trademark and received 2 Coty awards, one in 1972 and one in 1976, as recognition. His business was all done on a made to order basis. That means the majority of pieces you will find are a one-off, or if there are similar pieces, very few of each piece exist. This personal attention to each dress is clearly seen in the workmanship of his pieces. His work is very expensive and beaded pieces did, and still do, retail for over $10,000. His work is a personal favourite of mine and I am thrilled to begin to offer this second round of a dozen exclusive pieces and samples that John pulled from his own archives.

This jersey and lace dress is insanely sexy. Like the other listing today this one is also unbelievably light in weight. It is made from a deep blue stretch jersey that allows it to drape beautifully over the body and highlight your every curve. This is combined with a fine blue coloured netted lace and a black lingerie netting. The slight stretch that these fabrics have allow the dress to show off your curves while still feeling wildly comfortable once on. The upper bodice is made from the netting and it is done so that there is minimal seaming. It has an almost sculptural feeling to it as it glides down and extends out to make the sleeves. There is a hook at the top of the neck for a little keyhole and another at the back of the neck. The one at the back tops a long slit that runs down to the zipper at the waist so that you get a bare flash of skin along its length. A panel of lace is set in a curving angle to just cove the breasts at the front and then it curves down to the low back at the back. All of the edges follow the natural pattern of the lace and this adds to the feminine feel that it gives. The lace is not lined. So it has a transparent feel to it and your skin peeks through the netting. You could wear something nude under it, use a colour for contrast or be very daring and go bare with just nipple covers. There is strategically placed lace at the front to make the bare option work. It is just tremendously beautiful. The lace has a touch of stretch so it conforms to your bodice. The lace panel is set around the waist on an angle. It is attached over the fabric of the skirt and the workmanship is exquisite where they meet. The bodice on its own would be a full on wow but he then extended the lace down on one side so that the full side of the skirt is finished with a wide panel of transparent lace right to the floor. It is insanely sensual. The rest of the skirt glides down past the hips to fall to the floor in a beautiful drape of deep blue silk jersey. The jersey is light and soft. It is almost like an opaque, very fine silk jersey T-shirt fabric. Just incredible and it feels amazing against the skin. It is cut supermodel long in length. There is a high slit that runs up the opposite side to the lace side so that you get a glimpse of skin through the lace on one side and a flash of bare skin on the other. It is one of the most incredible dresses I have ever seen. Made to demi-couture standards. Excellent condition.

Unlined and closes with a low hidden set back zipper. It hooks to close on the front and back of the neck as described above. It appears to have been worn very little if at all. Hand finished throughout. The fabric does have some stretch so should fit a range of sizes. The measurements below give you the comfortable range the fabric has when lying flat.

Sleeves: approx 25""
Shoulders no defined seam
Bust: 17-19.5" flat across from side seam to side seam
Waist: 14-16.5" flat across from side seam to side seam
Hips: 16-19.5" flat across from side seam to side seam
Length: 64" from neck to hem
Slit: 32.5" from hem up

Modern Sizing Equivalent: SML-MED

Item# DD4010

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 Anthony is an award-winning American fashion designer best known for simple, elegant clothing with a strong sense of chic. His work veers towards minimalism, with sharp tailoring, striking evening wear being his signature. He is renowned for his cutting and tailoring. From the day that he launched his atelier in 1971 his design philosophy is a fusion of function and purpose. The function is his logical, wearable approach; the purpose, his pared-down ideas. As a designer, he considers it his job to make things easy for the customer. He designs with focus and a narrow palette for both day and night, so items can easily intermingle. He uses natural fabrics and is noted for contradictory daywear fabrics in his evening collections. In the early 70’s he was one of the first designers to promote the idea of easy-to-travel clothes that resist wrinkling. By 1976, he was showing soft, liquid separates in muted colours that became his trademark and received 2 Coty awards, one in 1972 and one in 1976, as recognition. His business was all done on a made to order basis. That means the majority of pieces you will find are a one-off, or if there are similar pieces, very few of each piece exist. This personal attention to each dress is clearly seen in the workmanship of his pieces. His work is very expensive and beaded pieces did, and still do, retail for over $10,000. His work is a personal favourite of mine and I am thrilled to begin to offer this second round of a dozen exclusive pieces and samples that John pulled from his own archives

This dress is gorgeous just on its own with its one sleeve cut never mind the fact that every square inch of it is completely covered in thousands of tiny sequins. The sequins are all placed in a way that they slightly overlap each other which uses twice as many then if you laid them out side by side. This heavy coverage means that it catches the light from every angle and looks like liquid once on the body. They cover every inch of the dress and create a moving, sculpture as they fall and drape over the body. The cut of the dress is chic and simple so that the sequins can take center stage. The The neckline is cut on an angle to leave one shoulder and arm completely bare. On the other side the fabric extends out to a single long sleeve. The bodice is cut to skim over you. It extends down past the waist with an easy cut and skims over the hips. The skirt ends at just about the knee depending on your height. The base fabric under the sequins and the inner lining are both made from a stretch silk mix jersey so the dress is extremely easy and comfortable to wear.  It is just the easy, super flattering dress that has lots of impact that you can wear over and over. It is just beautiful. It is finished by hand and made to demi-couture standards. Excellent condition.

Fully lined in a black silk and closes with a back hidden set zipper and the fabric has some stretch. Hand finishes. I see some tiny areas of missing sequins near the edge of the neckline. The slightly larger area is at the back. With all the sequins on the dress you would not even notice this once on. Please see the two photos after the label shot. There are literally thousands of sequins covering the dress. It is even better in person. The stretch of the fabric should allow it to fit a range of sizes and the measurements below are the comfortable range when lying flat.

Sleeve: 26"
Bust: 16.5-18.5" flat across from side seam to side seam
Waist: 14-15.5" flat across from side seam to side seam
Hips: 17-19.5" flat across from side seam to side seam
Length: 38.5" from shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4007

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 Anthony is an award-winning American fashion designer best known for simple, elegant clothing with a strong sense of chic. His work veers towards minimalism, with sharp tailoring, striking evening wear being his signature. He is renowned for his cutting and tailoring. From the day that he launched his atelier in 1971 his design philosophy is a fusion of function and purpose. The function is his logical, wearable approach; the purpose, his pared-down ideas. As a designer, he considers it his job to make things easy for the customer. He designs with focus and a narrow palette for both day and night, so items can easily intermingle. He uses natural fabrics and is noted for contradictory daywear fabrics in his evening collections. In the early 70’s he was one of the first designers to promote the idea of easy-to-travel clothes that resist wrinkling. By 1976, he was showing soft, liquid separates in muted colours that became his trademark and received 2 Coty awards, one in 1972 and one in 1976, as recognition. His business was all done on a made to order basis. That means the majority of pieces you will find are a one-off, or if there are similar pieces, very few of each piece exist. This personal attention to each dress is clearly seen in the workmanship of his pieces. His work is very expensive and beaded pieces did, and still do, retail for over $10,000. His work is a personal favourite of mine and I am thrilled to begin to offer this second round of a dozen exclusive pieces and samples that John pulled from his own archives

This is an absolute dream piece. This is the type of dress that you will only ever find in vintage. I really cannot gush about it enough. It is a beautiful and glamorous dress that is red carpet worthy. As good as it looks here it only really comes to life once on. The cost to produce this level of construction now would be sky-high. The level that this dress is made to is a beautiful thing to see. It has all those lovely details that you expect in a couture level garment. The dress combines a metallic bronze colored lace that is fused onto a black silk netting on the bodice and sleeves and then is used for the top layer of the skirt. Under the skirt's top lace layer is a full deep brown silk satin skirt. The skirt is full with built in netted underskirts and the bodice is very elaborately finished. These fabric choices help to hold its intended shape and give it a high glamour feel. The bodice is more fitted and the neckline is cut high. The collar is an elaborate affair with the lace fused onto the black silk netting to circle your neck and run down the front a touch. It is almost like wearing a piece of jewellery. More of the metallic lace is fused over the bodice and circles around the waist where it narrows to a band at the back. The lace there is backed with an extra layer of silk chiffon so that you can wear it without being completely see-through. The sleeves extend down from the shoulders with no seam there to break the eye. At the wrist there is a long panel of lace that follows the curve of your lower arm and goes up to the elbow. It is fantastic and very beautiful. The top is cut to skim over you and then the waist is cinched in. The skirt under that is equally well made. It curves out from under the waist and is wide and full around the hips and front but is not as full at the very front so you get this sleek feeling of volume rather then a cupcake shape. At the back it is far fuller and you get more of that true full skirted feel. I love how the lace layer wraps around the skirt and then separates at the back down the center so you get to see the silk skirting underneath. Inside the skirt is a built in crinoline to help give it shape and volume. Under that is an inner silk skirt so that it feels good against the skin. This built in volume through the skirt technique helps to hold the shape of the skirt and when on the body it poufs out perfectly and stays that way. The hours of work that it would have taken to implement the detailing on this dress is mind boggling. It is extraordinary and the kind of quality and beauty that you will only find with vintage. Made to demi-couture standards. Excellent condition.

The skirt has a brown silk inner lining topped by a built in netted crinoline with a double layer hem. The silk satin skirt is backed in a silk organza and the top lace layer is backed in a silk netting. The lace in the bodice has an additional layer of silk chiffon backing it. It closes with a hidden set zipper at the waist at the back and then hooks to along the lace panel above that. More hooks at the back of the neck which leaves a keyhole slit between the neck and waist. Each sleeve's cuff closes with a series of hook & eye. Hand finished throughout.

Sleeves: approx 22" with no defined shoulder seam
Bust: to 17" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Inner hips: to 19" flat across from side seam to side seam
Bodice: 15" from neck to waist
Skirt: 22" from waist to hem
Neck: 14" around

Modern Sizing Equivalent: XS-SML

Item# DD4008

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 Anthony is an award-winning American fashion designer best known for simple, elegant clothing with a strong sense of chic. His work veers towards minimalism, with sharp tailoring, striking evening wear being his signature. He is renowned for his cutting and tailoring. From the day that he launched his atelier in 1971 his design philosophy is a fusion of function and purpose. The function is his logical, wearable approach; the purpose, his pared-down ideas. As a designer, he considers it his job to make things easy for the customer. He designs with focus and a narrow palette for both day and night, so items can easily intermingle. He uses natural fabrics and is noted for contradictory daywear fabrics in his evening collections. In the early 70’s he was one of the first designers to promote the idea of easy-to-travel clothes that resist wrinkling. By 1976, he was showing soft, liquid separates in muted colours that became his trademark and received 2 Coty awards, one in 1972 and one in 1976, as recognition. His business was all done on a made to order basis. That means the majority of pieces you will find are a one-off, or if there are similar pieces, very few of each piece exist. This personal attention to each dress is clearly seen in the workmanship of his pieces. His work is very expensive and beaded pieces did, and still do, retail for over $10,000. His work is a personal favourite of mine and I am thrilled to begin to offer this second round of a dozen exclusive pieces and samples that John pulled from his own archives

This is another spectacular example of John's work during this time period. It is insanely sexy on the body and just an unbelievable dress. It is made from a black stretch jersey that allows it to drape beautifully over the body and highlight your every curve. The stretch in the jersey and the netting at the waist allows the dress to show off your curves while still feeling wildly comfortable once on. The dress is made from a black jersey that has some stretch. The bodice has an almost sculptural feel as it glides over the bodice and then extends down to the one single long sleeve. The sleeve is cut long and depending on the length of your arm is meant to bunch up on the arm slightly at the wrist. This gives it a subtle bit of detail. The front and back of the bodice curves across you to leave the other shoulder and arm bare. This plunging side opening has been cut on a steep angle. It is done so that curves around you slightly and the base of the plunge ends slightly behind the waist at the back. This leaves a wide expanse of skin bare at the front side and even more at the back. He then mixed in an angled cut out made out of a fine black mesh netting that angles across and into the opposite side of the waist. This transparent panel makes the dress even more sexy despite even though the dress is completely covering you. An attached swag of fabric wraps around the hips and it has the illusion of buttoning into place at the side of the hip. Above the mesh there are more buttons to give the illusion that the top does as well. But these are decorative only and there for detailing. The dress skims over the body and glides down past the hips to fall to the floor in a beautiful drape of jet black jersey. It is cut supermodel long in length. There is a high slit that runs up the same side as the bare shoulder so that everything on that side is about that flash of bare skin. It is incredible and I love it. It is made to demi-couture standards. Excellent condition.

Unlined and slips on to wear. It appears to have been worn very little if at all. Hand finished. The fabric does have stretch so should fit a range of sizes. The measurements below give you the comfortable range the fabric has when lying flat.

Sleeve: approx 25" with no defined shoulder seam
Bust: 15-17" flat across from side seam to side seam
Waist: 11-14" flat across from side seam to side seam
Hips: 16-18" flat across from side seam to side seam
Length: 67" from neck to hem
Slit: 33" from hem up

Modern Sizing Equivalent: XSS-SML

Item# DD4003

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 Roberto Cavalli dress is from 2007 and is gorgeous. It has an interesting backstory to it. The dress comes to me from the closet of a former stylist and she was part of the team that worked on the Bulgari ads that season that featured Kate Moss. She told me that they made and brought to set 6 dress options for the campaign shoot and that this is one of them. It was not one that was ultimately chosen, though it certainly could have been. It is incredible. It was never worn outside of being tried on that day and still has its original hang tag. She believes it was a one-off. We did find a similar dress from the Spring 2006 that this one is obviously based off of. This one has a bit more structure to it and would be more secure on the body but I have included that reference photo here so that you can see it on the body. Victoria Beckham wore that version that year as well. It is an exceptional and extremely beautiful dress. I personally love this black version more. 

The dress is made from a black silk chiffon with an inner body suit built into the dress to keep it in place once it is on the body. The dress is very sexy and shows off a lot of skin but in the best possible way. The silk chiffon that was chosen as the fabric is very lightweight. Once it is on it feels almost weightless. It is cut on the bias so once you slip it on the seaming and bias cut drape the dress over you and it feels like you are wearing nothing. The bodice is made up of two curving triangles that are set so that they plunge right to the waist. The interior of the front halter is all backed and structured so that they stay in place and give you shape. A panel of black lingerie netting extends out from each side and curves and narrow sot the back for extra support and shaping. The silk is gathered over the halter in soft gathers and then this ends at the center of a crossed knot of fabric at the waist.  These then wrap around you and secure at the back and the bottom parts of the gathered fabric are attached and a part of the dress that works its way over the top of your hips. Everything about this dress is done deliberately to give you curves. It is suspended by small clear plastic straps that curve of the shoulders and cross at the back This gives the illusion from a distance that the dress is somehow magically suspended over the body. These curve up and over each shoulder and then cross over themselves at the back. The rest of the back is left completely bare and open and at the front it plunges insanely low to right above that front knot detail. Inside the bottom extends out to a body suit made from black lingerie netting and snaps into place. The skirt flows out from under that and is spectacular in its own right. It is cut so that the hem curves around with the front cut into a high slit. The second you move or sit you get a glimpse of leg almost to the upper thigh as a result. There are yards and yards of silk chiffon in the skirt and it extends out at the back to form a train behind you. It is only one single layer so the entire skirt has a touch of transparency to it. This gives the skirt incredible fullness and movement. When you are standing still you still get the feeling of fullness but when you move this construction technique allows the skirt to billow out around you. The fabric is so light and airy that when you walk it creates this incredible floating sensation. As good as it looks here it only really comes to life once on. The dress is in its original supermodel uncut length. It appears to have never been worn and still has its original hang tag attached. Excellent condition

The halter is fully lined in a black chiffon and black silk. It has built in cups and boning. The dress closes with a hidden side set zipper. The waist detail and inner body suit both hook to close. Tagged a modern Cavalli 40. The fabric has stretch so should fit a range of sizes. There is one tiny repair in the skirt. Please see the photo after the label shot 

Waist: 12-15" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 67" from shoulders to shortest point at the front hem, 92" to the longest point of the back hem
Front slit: 31" from the shortest point at the front hem up

Modern Sizing Equivalent: XS-MED

Item# DD4004

Reference Photos: (1) Kate Moss, in Roberto Cavalli, for the Bvlgari Spring 2007 Ad Campaign.  /  (2-7) Desi Lydic, in this Roberto Cavalli dress, for the 74th Emmy Awards, September 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.