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

The dress is made from a light weight black silk organza and it is an easy-to-wear and very pretty dress. The dress is made to look as if it wraps around you but it actually is fully secured all the way around. The bodice has a cross over the front and is meant to skim over you to the waist. At the back it closes with a hook and eye at the top of the neck and then there is an open keyhole slit to where the zipper begins just above the waist. I love how the back and upper part of the shoulders are made from only one layer of the organza so that it has a touch of transparency. This transparency has been carried over to the sleeves as well. The sleeves are spectacular. Each one is extremely full and balloons out over the cuffs. They are also open with a keyhole from the top of the shoulder to the wrist. The wrist is highlighted with a bow made from the same organza and then you have a huge double ruffle of silk that falls over your hands. The waist is brought in and has an attached band of the same organza that you tied to one side. Under that the skirt falls to the floor and widen out beautifully. It is scooped up at the front to one side and there is another double layer of ruffles that begins at the top of the hip and then falls all the way to the floor. It follows the edge of the skirt all the way around the back and then scoops up the other side. This adds that incredible volume and drama to the skirt that you see. The skirt is lined underneath and the inner skirt has a smaller open slit so that your full leg is not exposed. If you wanted to, you could easily expand that inner slit so that opened all the way up and you did see all of your leg. It is gorgeous and even more beautiful in person. Excellent condition with a minor note below.

Fully lined in a black silk. It closes at the back of the neck with a hook at the top of the neck and a zipper starting just above the waist. Each cuff hooks to close, and the belt at the waist snaps into place. Perhaps the tiniest bit of fading to an edge here or there, but this is a natural occurrence with this type of fabric in this age of garment and I'm being pretty picky.

Sleeves: 29" including the 6 inch ruffle. 15" around the upper arm.
Shoulders: 16"
Bust: to 19" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Inner hips: to 19" flat across from side seam to side seam
Bodice: 14" from top of shoulder to top of the band at the waist
Total length: 61" from top of the shoulder to hem

Modern Sizing Equivalent: MED-LRG

Item# DD4656

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Bill Blass launched his label in 1970 when he bought out the Maurice Rentner label and re-launched it under his own name. Blass was arguably one of the most famous of  the American designers. His forte was the ability to mix simple styles with luxurious materials and his evening wear in particular seemed to have a way of flattering the wearer. He knew how to walk that line perfectly. This is a gorgeous example of his work from this time period. It is beyond gorgeous and it is one of my favorites from him. I have had this dress in the shop before and at last we have been able to date it. It is from the Spring 1984 collection

I have had the twin of this dress in the shop in the past and I love it more every time I find it. The main body of the dress is made from a deep royal purple silk that has a vivid pink ruffle that runs all the way down one whole side. The way that the pink is attached to the dress gives the dress the feel that that it has been wrapped around the bust and then tied into a dramatic bow at the shoulder with the ties trailing down your side. It actually is all attached and a part of the dress but I love how it makes the dress feel. The pink is gathered and warps all the around the bust and then is caught up at side to create that gorgeous bow that you see. The other shoulder is left completely bare for a little skin to show. Under the bow the pink silk runs down the side of the dress in an extravagant ruffle finish all the way to the hem. The inner bust has boning to support you and there is a little hidden strap under the bow to keep it in place. The body of this is cut loose and easy and it widens out it falls to the floor. It is extraordinary. Even more beautiful in person. It appears to have been worn a very little if at all. Excellent condition

Fully lined in a deep purple silk. The inner bodice closes with its own zipper and then the dress zips to close over that with a hidden set zipper. Lightly boned through the inner bodice.

Bust: 16.5" flat across from side seam to side seam
Inner waist: 13" flat across from side seam to side seam and the outer waist goes to 16" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 56" from top of shoulder strap to hem

Modern Sizing Equivalent: SML-MED

Item# DD4109

Reference Photos: (1-2) Fall 1984 Bill Blass Runway, Model Dalma Callado.  /  (3-4) Cherie, Owner of Shrimpton Couture, by Erin Leydon.

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

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

This is an exceptional dress. It is a stunning example of his work during this time period and these metallic pieces are among my favorites by him. This one even more so with its pretty pink colour and extraordinary fabric. The fabric is the perfect shade of soft pink used to create a floral design and that is mixed with a soft green for the leaves. Some of the pattern is raised and has been embroidered into the fabric. The thread used is incredibly soft and this adds yet another dimenesion to the dress. Woven over and through the silk is a muted gold lurex thread that give the fabric its metallic glitz and makes it gleam and glitter in the light. This same thread is also used to create the horizontal rows that you see. The gold covers the dress from head to toe. The neckline is a cut into a high V and the bodice crosses over itself and skims over you. This is then is balanced beautifully by those spectacular sleeves. Each sleeve is cut extra long so when it is on an actual body it will bunch up a bit on the arm for added texture. Set just under the bust is a wide band of the same fabric that wraps all the way around you and snaps and hooks into place. The crossed over bodice above and this wise high set belt is what gives the dress its nod to a kimono and obi. This tops the skirt that is set to widen out as it nears the floor. On one side and extending down from where it crosses on the bust it has a soft pleat that falls all the way to the floor. This adds a little extra detail and volume and it also hides a small pocket set along the inner seam. The hem has been let down at some point and it is supermodel long as a result. Blass did a soft version of a kimono inspired dress for this collection as well and that one was photoed on Candice Bergen. I have included it here as they do share some similarities. This dress is an absolutely beautiful. Excellent condition with a note below.

The fabric is self backed in a muslin throughout. You step into it and then it closes with a series of hidden snaps. The belt is attached and it snaps and hooks into place. Hand finishes. The hem was let down at some point and it is ribbon finished. It poufs a bit at the edge as there are spots where it was stitch in to sit proper when it is hemmed. If you needed the full length you could just take those out. It could be worn as is but I've left it so you could redo the hem to your perfect length. You can see a slight grubbiness here and there were the hem was. The hem was very deep and the length turned up under the sleeves is also very deep.

Sleeves: approx 25" w 3" turned under. It is 16" around the widest part of the upper arm
Shoulders: no defined seam
Bust: to 17" flat across from side seam to side seam
Seam under the bust: 16" flat across from side seam to side seam
Natural waist: 17" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Bodice: 10" from top of shoulder to seam under the bust
Skirt: 52" from seam under the bust to hem

Modern Sizing Equivalent: XS-MED

Item# DD4293

Referece photo: Candice Bergen Wearing A Bill Blass Dress, Vogue 1970

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

Bill Blass launched his label in 1970 when he bought out the Maurice Rentner label and re-launched it under his own name. Blass was arguably one of the most famous of  the American designers. His forte was the ability to mix simple styles with luxurious materials and his evening wear in particular seemed to have a way of flattering the wearer. He knew how to walk that line perfectly. This is a gorgeous example of his work and I love that I can date it based on the very similar one that was used the a Vogue shoot that year. It gives you a better idea of how it will look like once on a body.

The dusty pink mauve coloured sequins that cover that entirely this dress are so densely applied that they actually overlap one another. There are hundreds of thousand of sequins used and it is incredible. Mixed in with those is a band of gold beads that wrap around the hips. This is set around the on one side and widens out over the hip and then narrows to a point where it meets the low set waist seam. Another triangle feeling band sits at the hem of the skirt on the opposite side. This time done in silver sequins. It is cut in that fabulous eighties big volume on top over a fitted skirt. The shoulders are strong and padded for shape. The neckline is scooped and the sleeves are long. The bodice is cut long and it is meant to blouse out over the skirt. Inside there is a silk lining in that same purple and then the sequin fabric is also lined in silk. It buttons down the back and you get a tiny glimpse of skin between the buttons. The sequins catch the light at your slightest move and its fabulous in person. Excellent condition.

Fully lined in silk with a low set inner zipper at the waist and a series of buttons down the back. Padding in the shoulders, It is meant to be oversized at the top so the hips are the most important measurement to consider.

Sleeves: 22"
Shoulders: 14.5"
Bust: to 19" flat across from side seam to side seam
Natural waist: open
Seam at top of skirt: 15.5" flat across from side seam to side seam
Hips: 17.5" flat across from side seam to side seam
Bodice: 19.5" from top of shoulder to seam at top of skirt
Skirt: 22" from waist to hem

Modern Sizing Equivalent: XXS-XS

Item# DD3953

Reference Photo: (1) Models in Bill Blass, Vogue, October 1982.  /  (2-4) Fall 1982 Bill Blass Collection. Model Alva Chinn.

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This suit is from the debut collection of Bill Gibb for the Fall 1972. In the book, Bill Gibb: Fashion and Fantasy, they note that the theme of the collection was the natural world and you can see that in this suit. As the book describes what was presented in the runway, they specifically mentioned that "there were also a lizard trim cream wool suit" which is of course this set. The book quotes fashion journalist, Suzy Menkes saying that "this is Bill Gibbs great day... for the first time showing a collection all his own. It marks the beginning of his career as a designer of the jet set." Twiggy said to Gibbs backstage "they were incredible, I loved every one, I want them all... is it possible to have one to wear tonight?". At this moment in Bill Gibbs history he was the star of fashion set. The suit is spectacular and I love that a version in black is held in the permanent collection of the Aberdeen Art Gallery and Museum. The twin of this suit was also photoed for British Vogue that season and this gives you a chance to see how fantastic it is once on. This is an incredibly important suit in terms of British Fashion history.

The suit is fantastic. The jacket has an incredible cut to it. It is cropped to the top of the hip and this adds a pretty shape. The collar is rounded and wide. Onto the collar Gibb added an amazing hand cut lizard detailing on either side which perfectly fits into his nature theme of the show. He also added snakeskin strips over the seams and this detailing of the seams like this went on to become a signature for him. It is also a clever way to highlight the cut of the jacket. I love the way the front of the jacket curves down at the front. Snakeskin straps buckles across the front and then the back has another set of buckles. We also see that same detailing over the seams there as well. The sleeves are phenomenal. They begin just above the waist and at the shoulder they are gathered in and capped. This gathering lets them sit up and off of the shoulder. They are extremely wide through the upper arm and then they narrow down to those fantastic cuffs. The cuffs have that same beautiful rounding curve to them and they are split up the middle to meet two metal buttons at the top of the snakeskin detailing. The skirt is equally as fabulous. It has a small band around the waist and then skims over the hips to flare out to be quite full by the time it reaches the hem. This skirt is made by eight panels that have been sewn together. Each panel is rounded at the bottoms and this creates that beautiful scalloped effect that you see. We took one photo with the skirt laid out flat so you could see the remarkable shape that it has. The skirt is also detailed with snakeskin that runs over the top portion of each seam where the panels are joined. A third hand cut out lizard sits across the front of the skirt to tie it all together. Hand work throughout and it is just a phenomenal piece of fashion history. It also fits in perfectly with the couture cowboy core movement we are seeing. I love that you can wear the pieces together or mix and match with things you already have. Excellent condition with a tiny note below.

Both pieces are fully lined in a white silky rayon. The jacket buckles to close at the front and the skirt zips to close under a hook and eye on the waistband. Hand finishing throughout. I see two tiny pin sized marks on one shoulder and some of the snake skin shows very minor peeling here and there that is natural to aging.

Jacket
Sleeves: 25" and 20" around the upper arm
Slightly inset shoulders: 14"
Bust: approx 18" flat across from side seam to side seam
Waist: 15-16" flat across from side seam to side seam
Length: 22" from neck to the longest point of the front hem, 18" to the back

Skirt
Waist: 13-14" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 38" waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4668

Reference Photos: (1) Model in Bill Gibb, Vogue UK, 1972.  /  (2) 1972 Bill Gibb Suit in the Collection of the Aberdeen Art Gallery & Museums.

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When dating this extraordinary Yves Saint Laurent dress, we found a photo of a piece with almost an identical cut bodice from 1972 along with several runway photos that show other pieces with that same cut to the bodice. I have included those here for you and it is interesting to note that the pleating technique that is used around the upper hip of the skirt was also done in a more intricate fashion for the 1974 Couture show. Yves often use ideas from both collections. - Rive Gauche and Couture - to build and develop ideas and it is fascinating to see the progression of his work from garment to garment. This is an incredibly beautiful example of his work from this time period.

This dress combines a floral silk chiffon with a muted red silk on the skirt. This combination is absolutely gorgeous. Is combination of silks give the dress just enough weight and structure to be able to create the impressive lines and volume that you see but while still making it feel soft and romantic. The colours are spectacular. The top is a printed silk chiffon, and it has a stunning floral pattern in red purples and greens that float over the entire bodice and the sleeves. The bodice is cut to skim over you and the waist nips in. It plunges at the front and crosses over itself, and the neckline has been detailed with ruffles that begin at the back of the neck and circle around to follow the V at the front and then run down to the waist. piping in the same fabric detail. The waste and ties have been left off to the side to hang down and create a pretty little detail. The skirt falls to the floor from there and it has yards and yards of fabric in it that creates the fullness and volume that you see. The skirt falls in a gently widening line and is quite full by the time it reaches the hem. I love the volume that this type of fabric creates and how it billows around you as you move but at the same time it is as light as a feather. Around the entire upper hip area, and starting at the waist or a series of tiny cleats that gradually open out to create the volume underneath. This intricate detail is a beautiful addition to the dress. The sleeves are outstanding. Each is a single layer of the silk chiffon and are wide and very full. They are caught up at the wrist with a circle full circle ruffle underneath. This creates a beautiful and dramatic finish to the top. I love everything about this dress. Excellent condition.

Fully lined in a red silk and closes at the back with a hidden set painted met zipper. Attached ties at the waist and elastic in each cuff. The silk skirt and the exterior layer is a tool ruffle that helps keep the volume through the skirt. Tagged a vintage YSL 38. I see some light marks around the hem of the skirt.

Sleeves: 24" and 14" around the upper arm
Slightly inset shoulders: 14"
Bust: to 18" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 16" from neck to waist
Total length: 60" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4665

Reference Photos: Fall 1972 Yves Saint Laurent.

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The book Givenchy Catwalk says of this collection that "Hubert de Givenchy presented a collection made up of soft lines with dresses that suddenly highlighted the shape of the body before the pleated skirts flared out towards the bottom." It is interesting to note that some of the looser more flowing designs from this collection were a part of the November 28 1973 presentation at the Royal Opera at the Palace of Versailles as part of the fashion show that later became to know become known as the "Battle of Versailles". The book notes that "Givenchy took part in the evening event to raise money for the château restoration, presenting his dresses alongside designers by four other Persian Couture houses competing against five American design designers". I have found nothing that suggests that this dress was a part of that show but it definitely has the feel of what went. This dress was shot that year both for Vogue Paris and British Vogue and I love having those reference shots for you to see just how amazing this dress is on the body.

This is an amazing true Haute Couture Givenchy dress that is a very rare and special find. It is entirely cut on the bias and then the silk has been pleated into perfectly matched knife pleats. The cut is tremendously flattering to the body and it feels a little bit sexy with the way the top sits on the bodice. The fabric is a beautiful and very light red crepe silk chiffon that moves and drapes fantastically. The bodice is done with its own panel that wraps around to the back. It is set wide and open at the front and then the pleats wrap on a slight curve to follow the shape of the halter to the back where it is set with a wedge of open space between the two sides. Silk straps come out from the peak of the front and then curve over your shoulders to connect to the back. The skirt flares out from there and it has a ton of movement when you move. It is spectacular. The silk is very fine and light and it is cut on the bias and then pleated in long vertical lines. There are yards of it in the skirt and that and the lightness of the skirt picks up the air when you move so that it moves fantastically around you as you walk. This is a very beautiful example of Givenchy from this time period. It is easy to see why his work is the subject of so many books and retrospective shows at museums worldwide. It also comes with a matching curved shawl in the same fabric. Excellent overall condition with notes below.

The dress is fully lined in a matching hand set red silk. It zips to close at the back and then an inner wider waist stay hooks to close at the inner waist. Light. boning through the inner built-in corset. Hand finished throughout to couture standards. I see some wear and patching on the straps. A small repair at the top of one peak and and some repairs/ small shattering to the inner lining near the arms. A small thinned spot near the zipper and a mark here and there and also near the hem.  Presents wonderfully but these are mentioned for accuracy. Proper couture tag and numbered tape present.

Bust: 15.5-18" flat across from side seam to side seam
Seam under the bust: 14-15.5" flat across from side seam to side seam
Inner waist: 13" flat across from side seam to side seam
Hips: 19.5" flat across from side seam to side seam
Bodice: approx 12" from top of straps to seam under the bust
Total length: 61" from top of straps to hem

Modern Sizing Equivalent: XS-MED

Item# DD4664

Reference Photos: (1) Photos by Guy Bourdin for Vogue Paris Special Collections Issue, 1973.  /  (2) Susan Moncur in Givenchy by David Bailey for British Vogue 1973.

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

This dress is a stunning and rare piece of Halston history. Its twin walked the runway for the Spring 1973 show and you can see how spectacular this is on the body. This is classic Halston from his main label couture line. It is incredibly chic and sexy and one of two important Halston pieces I have for you today. This is an incredible example of his work from this time period. 

This is an amazing couture Halston dress that is a very rare and special find. It is entirely cut on the bias and utilizes his signature minimal seaming. Halston defined how woman dressed in the 1970s and these jersey dresses that he did were tremendously flattering to the body. It is also insanely sexy with the side cut outs that wrap all the way around the back leaving your back completely bare except for that one strap that goes across and hooks to close. It also eaves almost your entire stomach and your sides completely bare. The fabric is a beautiful black silk jersey that is heavy enough to be opaque and the dress is backed in a second attached layer of the same silk jersey. The use of this fabric allows the dress to move and drape fantastically. The neckline is high and scooped around the neck and it hooks to close at the back. Then this extends down into the front panel that has straps that come out from the sides to hook at the back. From there it creates a upward curve that meets the downward curve of the top of the skirt in the middle centre of your front bodice. I love the way that the panels curve and create these cut outs on either side of your middle. At the back the top of the skirt curves down and it can sit quite low depending on the shape of your body. It also leaves the top of your hip exposed at the sides and it is so sexy. The skirt flares out to the floor from there in a sleek column of silk jersey that flares outward as it nears the hem. It is spectacular. The jersey is cut on the bias and there are yards of it in the skirt. The second layer of silk jersey is attached all the way around the hem and having the second layer helps to soften out any bumps underneath the top layer and helps to make it very flattering to wear. This is a very rare example of Halston at the top of his game. It really showcases how he use the absolute minimal amount of seaming to create these absolutely stunning pieces. It is easy to see why his work is the subject of so many books and retrospective shows at museums worldwide. Excellent condition with a tiny note below.

The entire dress is made from two layers of the silk jersey. The dress hooks to close behind the neck and then again at the strap that wraps around the back. Hand finished. At some point the ham appears to have been let down but it's well finished along the edge so I've left it as isThere is darkening along the original edge and I see a small area on the front that looks a tiny bit darker than the rest of the dress, but it wouldn't photo well and I'm being pretty picky. If you find that the neck seems to sit high you could add a little extension to the back where it hooks to close if you needed a little more length and have it sit a little lower.

Neck:  14-15" around from hook to hook
Bust: The front halter should accommodate a variety of cup sizes. From end to end of where it hooks to close around the back it is 32 to 36 inches total in length
Opening of the skirt: 13-18" flat across from side seam to side seam
Total length: approx 67" from neck to hem 

Modern Sizing Equivalent: XS-MED

Item# DD4663

Reference Photo: Spring 1973 Halston Runway.

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This fantastic cape is from the Fall 1976 collection and it is the second one from this collection I have had in the shop this week. Several versions of it were produced that season including this and the longer and slightly more elaborate deep purple one I listed earlier this week. We have included photos from the runway pieces here and we also found an ad campaign shot with its twin and have included that for you to see. I personally have several versions of his capes myself and have worn them countless times. It is literally the perfect thing to pop over a dress at night time. It is a very versatile and so easy to wear piece.

The cape is in a very beautiful pale taupe combined with a black flat braided edging. The fabric is a high end wool that has a little bit of weight just due to the sheer amount of it in the cape but is still comfortable and easy-to-wear. This is one of those effortless pieces that is easy to make a part of your wardrobe. You just slip it over your shoulders and it drapes in place. A slightly oversized hood extends out from the neck and this added addition of the hood adds the perfect amount of detail and drama. A flat blue braided rope finished all the edges and I love the elaborate braided knots that closes it in place at the neck. A long fringed tassel sits on either side of that closure for added drama. I love the bit of movement these create when you move. There is a ton of fabric in the body of the cape so that when you move you get wonderful movement as it floats and billows around you. The cut is impeccable and it is a great piece of YSL's fashion history. Excellent condition

Unlined and drapes over the shoulder to wear with a knot closure at the neck as seen. The occasional graze to the surface. The easy open cut should allow fit just about any size

Length: 50" from shoulder to hem

Modern Sizing Equivalent: OSFA

Item# DD4658

Reference Photos: Fall 1976 Yves Saint Laurent.

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