The color is the first thing that catches your eye. In a sea fo black vintage coats this deep green hue is a refreshing change. The double row of textured silver buttons that run down the coat and give it that fantastic military feel are the next thing to catch your eye. Those two things along with the high neat collar, pocket details and chic cut make this Normal Norell couture coat a classic that will never go out of style. Norell was particularly known for his meticulous cut, fit, and use of quality fabrics. He made clothes that lasted and this coat is absolute proof as it looks as fresh now as the day it was made. The cut of this coat is beautiful. It skims the body in a long lean line and is very flattering. It is sharply tailored and the military feel of the cut and detailing is fabulous. Immaculate in its construction, it is a stunning example of why Norell is considered one of the great American couturiers. Excellent condition
Fully lined with a green silk and buttons to close. All four pockets are functional and lined in silk. Each cuff closes with a single silver button that is functional. All the button holes, including those on the cuffs, are properly finished.
Sleeves: 24"
Shoulders: 14.5"
Bust: 18.5" flat across from side seam to side seam
Waist: 19" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 41.5" from neck to hem
Modern Sizing Equivalent: XS-SML
Item# C417
This garment has been professionally cleaned, pressed and is odor free. Thoroughly checked over before shipping, it will be ready to wear upon arrival.
This wonderful Haute Couture suit is from the 1957-58 collection and comes from the closet of the original owner who commissioned it directly from the atelier. It's near twin is held in the collection of The Metropolitan Museum of Art however, this version is in the signature blue based purple color showcased in that collection unlike the more common grey version held at The Met. Cristobal Balenciaga was known for his fine tailoring and sculptural approach to design and the restrained and refined lines of this suit showcase that aesthetic. Even Dior himself declared Balenciaga as "the Master of us all" and Balenciaga's impact on fashion cannot be underestimated.
The suit is made of an purple, nubby wool that has a very interesting texture and in some lights has an almost blue tone to it. Cristobal was known for doing the fitting himself, from the initial muslin stage through to the final fittings which means that a couture suit such as this one, made during the years he was alive and headed the house, means that you have a garment fitted by the master himself. The skirt has a simple, straight cut that flares out at the hem for the slightest suggestion of an A-line cut. The jacket is cropped and cut to skim over the torso and suggest the curves of the body underneath. I love the double row of buttons set low on the front - a signature detail. Together the suit is refined and proper and of perfect proportions. To own a piece of couture Balenciaga is truly to own a piece of fashion history and his pieces were worn by starlets and society girls, including Grace Kelly, Audrey Hepburn and many, many more. Excellent overall condition with notes to review below.
Entirely made by hand to Haute Couture standards. Both the jacket and skirt are fully lined in a hand-set blue silk. Interior hand finished seams. Hand done buttonholes. The skirt closes with a painted metal zipper and hook & eye at the waist. The jacket buttons to close. This suit has the following minor notes for condition: there is a small amount of fading along the edge of the inner seams under each arm and some stitches have disintegrated. Very minor shattering just starting along the edges of those seams. There is very minor, tiny light color loss to the edges of the buttons Please review all photos. The number underneath the label is 63295. I have included detail shots of some of the interior hand work.
Jacket
Sleeves: 16"
Shoulders: 15.5"
Bust: 19.5" flat across from side seam to side seam
Waist: 17.5" flat across from side seam to side seam
Length: 17" from neck to hem
Skirt
Waist: 13" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 25" from waist to hem
Modern Sizing Equivalent: XS-SML
Item# DD2642
Reference Photos: (1) F/W 1957-58 Balenciaga Suit from the MET. (2) Princess Grace of Monaco wearing Balenciaga in Monte Carlo, 1960s.
This garment has been professionally cleaned, pressed and is odor free. Thoroughly checked over before shipping, it will be ready to wear upon arrival.
This wonderful Haute Couture suit is from the 1958 collection and comes from the closet of the original owner who commissioned it directly from the atelier. It's near twin is held in the collection of The Philadelphia Museum of Art with a slight variation on the skirt. Cristobal Balenciaga was known for his fine tailoring and sculptural approach to design and the restrained and refined lines of this suit showcase that aesthetic. Even Dior himself declared Balenciaga as "the Master of us all" and Balenciaga's impact on fashion cannot be underestimated.
The suit is made of an olive green, nubby wool that has an almost mohair finish to it giving it a very interesting texture. Cristobal was known for doing the fitting himself, from the initial muslin stage through to the final fittings which means that a couture suit such as this one, made during the years he was alive and headed the house, means that you have a garment fitted by the master himself. The skirt has a simple, straight cut that flares out at the hem for the slightest suggestion of an A-line cut. The jacket is cropped and cut to skim over the torso and suggest the curves of the body underneath. I love the small notches that sit at the base of each vertical seam - a tiny detail that adds to the couture feel. It has a matching fringed scarf meant to be worn jauntily around the neck. Together the suit is refined and proper and of perfect proportions. To own a piece of couture Balenciaga is truly to own a piece of fashion history and his pieces were worn by starlets and society girls, including Grace Kelly, Audrey Hepburn and many, many more. Good condition with notes to review below.
Entirely made by hand to Haute Couture standards. Both the jacket and skirt are fully lined in a hand-set green silk. Interior hand finished seams. Hand done buttonholes. The skirt closes with a painted metal zipper and hook & eye at the waist. The jacket buttons to close. This suit has the following notes for condition: there is shattering to the inner lining of the jacket - most significantly around the armholes with some small vertical shattering just starting in other places as well. Some loosening of the thread on the inner middle back seam. There is light color loss to the tops of the texture bits on the buttons There is wear to the silk piping along the top of the skirt and an area of discoloration to the skirt on the exterior. Please review all photos. The number underneath the label is 65768. I have included detail shots of some of the interior hand work and flawed areas.
Jacket
Sleeves: 18"
Shoulders: 15"
Bust: 19.5" flat across from side seam to side seam
Waist: 18" flat across from side seam to side seam
Length: 19" from neck to hem
Skirt
Waist: 12.5" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 24.5" from waist to hem
Modern Sizing Equivalent: XS-SML
Item# DD2641
Reference Photos: (1) Winter 1958 Balenciaga Suit from Philadelphia Museum of Art. (2) Princess Grace of Monaco wearing Balenciaga in Monte Carlo, 1960s.
This garment has been professionally cleaned, pressed and is odor free. Thoroughly checked over before shipping, it will be ready to wear upon arrival.
This wonderful Haute Couture suit is from the 1957-58 winter collection and comes from the closet of the original owner who commissioned it directly from the atelier. Cristobal Balenciaga was known for his fine tailoring and sculptural approach to design and the restrained and refined lines of this suit showcase that aesthetic. Even Dior himself declared Balenciaga as "the Master of us all" and Balenciaga's impact on fashion cannot be underestimated.
The suit is made of a nubby black wool that gives it a beautiful and interesting texture. Cristobal was known for doing the fitting himself, from the initial muslin stage through to the final fittings which means that a couture suit such as this one, made during the years he was alive and headed the house, means that you have a garment fitted by the master himself. The skirt has an unusual overlapping feature at the hem created by a full inner silk skirt that is edged with the same straight wool and set to hang lower then the exterior layer. It is cut in a straight and simple line with the very slightest suggestion of an A-line cut. The jacket is cropped and extremely beautiful. It utilizes the very minimal of seaming in its design with curving shoulders and arms and a flared cut through the body - a subtle play on his iconic "cocoon" shaping he was known for. It buttons off to the side with huge black buttons whose plastic surface is also textured to reflect the fabric choice. Together the suit is refined and proper and of perfect proportions. To own a piece of couture Balenciaga is truly to own a piece of fashion history and his pieces were worn by starlets and society girls, including Grace Kelly, Audrey Hepburn and many, many more. Excellent condition.Entirely made by hand to Haute Couture standards. Both the jacket and skirt are fully lined in a hand-set black silk. Interior hand finished seams. The skirt closes with a painted metal zipper and hook & eye at the waist. The jacket closes with hidden hook and eye down the side that the buttons are placed on. There is the slightest of shattering to the silk beginning under each arm and this is left as found. The number underneath the label is 61H17. I have included detail shots of some of the interior hand work. There is a fabric tie belt that came with the suit that will be included when sent, but is not photoed.
Jacket
Sleeves: 16" approx.
Shoulders: no defined seam
Bust: 19.5" flat across from side seam to side seam
Waist: 16.5" flat across from side seam to side seam
Length: 18" from neck to hem
Skirt
Waist: 12" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 23.5" from waist to hem
Modern Sizing Equivalent: XS-SML
Item# DD2640
This garment has been professionally cleaned, pressed and is odor free. Thoroughly checked over before shipping, it will be ready to wear upon arrival.
Jean Desses opened his couture house in 1937 and was a designated Haute Couture house under the official Chambre Syndicate de la Haute Couture. He began a ready to wear line in 1949. By 1960 the couture portion of his business was closed followed by the closure of the ready to wear 5 years later. This makes finding his pieces very rare from either of his lines. When he expanded his atelier to serve the overseas market in the late 1950s, he was among the small elite group of designers that sold to the American power house department stores the right to sew his designs in America. The fabrics and design were the same as what was being produced in his atelier in France, but the construction of the actual pieces was done by couture level seamstresses in America. This elaborate system had been established by Dior and was a clever way to get around the severe import taxation of the time period. Jean Desses kept a strict eye on what was produced and where pieces went and this caused a severe limitation on the quantities produced and from what I have found in my research, each piece was made to order making them demi-couture garments.
This is a spectacular example of his work and had it had the Atelier label the price on this piece would have a "1" in front of it or even be higher. It is instantly recognizable as a Desses and utilizes his signature, elaborate pleat work in its construction. The fabric is a vivid green silk chiffon of very fine quality and an extremely hard fabric to work into pleats like this one has been. The dress hugs the body and wraps it in the pleats from bust to below the hip, all cut to follow and highlight every curve. It has a squared off bodice with bodice and back is scooped and highlighted with a panel of draping fabric. The skirt swings out from under the pleats and gives the dress beautiful movement. At the back the skirt is an absolute marvel of construction. A panel trails out and down the back, widening as it nears the hem and perfectly off-setting the gorgeous draped pleating that wraps the hips. This is a stunning example of his work at his very best and showcases some of his strongest signatures. Presents as excellent condition with some notes below.
Fully interlined with a green silky rayon. It closes with a painted metal back zipper with hand finishes and hand draped pleating. Light boning through the side of the bodice and inner waist stay that closes with hook and eye. There are some small flaws that I have captured. Light marks under each arm are present with a slight shattering to one side along the upper edge. There are some spots on the back inner skirt and also on the fabric panel that runs down the back. The price reflects these. It is strong and wearable as is.
Bust: 17" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 45" from shoulder to hem
Modern Sizing Equivalent: XS-SML
Item# DD2639
This garment has been professionally cleaned, pressed and is odor free. Thoroughly checked over before shipping, it will be ready to wear upon arrival.
The twin of this dress is held at The Museum at FIT and dates to 1973. The notes on the dress there state: "Diane von Furstenberg introduced her signature wrap dress in 1973. The simple style was affordable and adaptable, combining the versatility of sportswear with the chic of a flattering dress. Easy to wear, the design became a fashion phenomenon and a large selection of graphic prints kept the style fresh and in demand. Von Furstenberg wrote: “I was sure there was a need for simple little sexy dresses that made women feel like women.”
This vintage Diane Von Furstenberg dress is wonderful. The new dresses she makes now are certainly beautiful, but there seems to be a special bit of extra magic about the older pieces from early on in her career. This soft cotton T-shirt fabric set has a bold, leopard print design screened over its surface and that in itself makes it a rarity. These leopard print versions are very hard to find. It is one of my favorite prints and you can pair it with any other color and it works. The skinny fit top wraps to close in her signature style with a plunging neck and long, skinny sleeves. The skirt is cut to fall to swirl and swing around your legs and has quite a bit of fabric as it gently widens as it nears the hem. It is literally that perfect seventies a-line shape. Wearing a Diane Von Furstenberg design is appropriate for almost any event or occasion that may arise. Which is probably exactly why they are one of the must haves in any girl's closet. Excellent condition with a small note below
Unlined with two long attached ties that wrap to close. The t-short cotton fabric has some stretch so is incredibly comfortable to wear. Pockets at the hip. I see three small repairs to the fabric but they look stable, well done and because of the print you would only see then if its laid out and you look from the back of the fabric as I did. The fabric has some stretch and it wraps so you can easily add 1-2" to any of the listed measurements up or down.
Sleeves: approx 23"
Shoulders: 14"
Bust: 18" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: open
Bodice: 17" from top of bodice to waist
Skirt: 29" from waist to hem
Modern Sizing Equivalent: SML-LRG
Item# DD2637
Reference Photo: 1973 Diane Von Furstenberg Dress from The Museum at FIT.
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 am dating this to the 1969-1970 collection based on the example held in The Metropolitan Museum's permanent archives. You can see the very similar design treatment at the front with that incredible scooped out detail. The best Cardin designs have this molded sculptural element to them and this one has that in spades. The dress is constructed from a deep chocolate wool of a mid-weight that holds the sculpted shape perfectly. It is a sleek and simple column that when off of the hanger literally falls in a straight, tubular shape. The dress is meant to define the shape rather then the body under it. That being said, the dress has its own version of sexuality with that high front scoop that shows a lot of leg and the low cut neckline that mirrors the scoop on the skirt and falls low below the bust. Holding that scoop in place is a signature circle of the same fabric that looks suspended between the fabric. This is Cardin at his best and is an instantly recognizable and rare design. It is very rare and very special. Excellent condition
Fully lined in a brown silk and closes with a back zipper and hook & eye at the neck.
Bust: 16.5" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Length: 47" from neck to hem
Modern Sizing Equivalent: XS-SML
Item# DD2636
Reference Photo: ca. 1970 Pierre Cardin Evening Dress from The MET Collection.
This garment has been professionally cleaned, pressed and is odor free. Thoroughly checked over before shipping, it will be ready to wear upon arrival.
If you have been looking for a statement dress for the season look no further then this incredible Ungaro dress that is absolutely amazing. That dramatic color is the first thing you see - it's an amazing combination of green and gold and the metallic thread makes it shimmer and glint in the light from bodice to hem. The fabric is quite light in weight so despite the elaborate construction the dress is not heavy to wear but rather, feels amazing on the body. The entire torso of the dress is gathered and fitted around the body with body hugging, hand placed and gathered folds. This was an Ungaro signature and really made his pieces flattering once on. The gathered detailing extends all the way down the torso and past the waist to hug the hips and underneath the skirt it sits like a mini dress. Big fabric rosettes adorn the bodice and hip. The skirt is attached over the inner under dress and wraps the hips all the way around and then floats to the floor on an angle. The fabric here is knife pleated and these falls out like a sculpted fan over the legs. The side not open has extra panels of fabric at its middle so no matter what angle you are seen by there is some interesting element. Excellent condition.
Fully lined in a green silk and closes with a side zipper. The bodice is lightly boned. Tagged a vintage Ungaro 8.
Bust: 17" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 62" from top of dress to hem
Modern Sizing Equivalent: SML-MED
Item# DD2633
Reference Photos: (1) F/W 1988-89 Emanuel Ungaro Runway Collection. / (2) F/W 1988-89 Emanuel Ungaro Haute Couture. Édité par Hola 1988.
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 fine Chanel dress that is densely covered with black sequins and beautifully made. Both the interior of the gown and the exterior are made of a fine black silk. Then the black silk chiffon outer layer has a hand embroidered design that runs over its surface and then onto those curving lines are glossy black sequins that have been all hand place and applied to follow the design. It reminds me of soft trailing vines that run in a vertical pattern down the surface of the dress. The fabric is very fine and light so once on it feels almost weightless. The edges of the cuffs, neck and down the back have a border of a more densely set sequins for a little bit of detailing and contrast. A double row of this same heavier sequinned border finishes the hem. The interior dress has a tank bodice that shows through prettily. The skirt flows to the floor and the effect of the two layers of silk over each other adds to the light and airy feel of the dress despite the extensive sequin work. It is very beautiful and the workmanship very fine. This is most likely the work of Karl Lagerfeld in the very first few years of his joining Chanel in 1983. The secondary Garfinkel's department store label in the bodice is the appropriate version of their label prior to their closure and helps to date it as this time period. It is very rare, collectible and very, very beautiful. Excellent condition.
Fully lined with an inner dress of silk. It closes with a fine back metal zipper on the interior dress then the exterior layer buttons down the back. Each cuff buttons to close.
Sleeves: 24"
Shoulders: 15"
Bust: 18.5" flat across from side seam to side seam of the inner dress
Waist: 15" flat across from side seam to side seam
Hips: open
Bodice: 16" from top of bodice to waist
Skirt: 40" from waist to hem
Modern Sizing Equivalent: SML-MED
Item# DD1942
This garment has been professionally cleaned, pressed and is odor free. Thoroughly checked over before shipping, it will be ready to wear upon arrival.
Bill Gibb pieces are so rare and hard to find that when I do find one I am always very pleased. This particular dress is absolutely fabulous. It has the added bonus of having similar examples currently residing in museum archives. A red version is held at the Museum of Fine Arts, Boston and a second, similar version in cream was displayed in Bath for the "Great Names in Fashion" exhibit.
The body of the dress is made of a fluid, black liquid jersey fabric that is light in weight and drapes amazingly on the body. It cascades and flows to the floor from the heavily sequined panel that sits across the upper bust. This panel is cut with a square angular cut that Gibb often used in his creations and is a signature of his work. The sequins trail up and over the shoulders and then curve into the upper back detailing of a second heavily sequined horizontal panel. Each cuff is equally elaborate and each is densely covered in pastel colored, glossy sequins. During this time period these jerseys would have been cutting edge fabrics and an unusual choice for a designer to use and considered very avant garde. It is stunning and a beautiful example of Bill Gibb's work. Excellent, museum quality condition.
Unlined and closes with a side painted metal zipper. Each cuff has a single hook & eye. All the sequins appear to be present.
Sleeves: 26"
Shoulders: 13"
Bust: 16" flat across from side seam to side seam
Waist: open
Hips: open
Bodice: 11" from top of bodice to waist
Skirt: 46" from waist to hem
Modern Sizing Equivalent: XS-SML
Item# DD1590
Reference Photos: 1. Museum of Fine Arts Boston / 2. Great Names of Fashion Display at Fashion Museum Bath / 3. Photo: Mabalu/Wikipedia (from Great Names of Fashion Display). / 4. Photo: Duro Olowu (from Great Names of Fashion Display) / (5) & (6) Cherie, Owner of Shrimpton Couture, for her weekly style column on our blog Curated. (Photos by Erin Leydon) Click here to see the full column >
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 a fantastical jungle that walked down the runway of the Spring 2011 Prada presentation and Miucci showed piece after piece with a whimsical mix of embroidery and beads. This is Look 29 from the show and it was not only a hit on the catwalk, but also was photoed extensively that season for the fashion magazines. It is a classic barrel shape cut with a combination of embroidery and a fantastic beaded hem. The dress caught the fancy of the fashion world and it was sold out and wait-listed as soon as it hit the shops. Cut like a modern day flapper dress, the monkey and banana embroidery perfectly captures her sense of humor and wit and give a nod to the original inspiration. It is really a design that has become iconic and instantly associated with Prada. The embroidery completely circles the dress and is a strong hit of color against its black backdrop. Added to the hem is her signature chunky beads done here in blue and black. These click and clack against each other when you move making the entire dress a piece of interactive artwork. Excellent condition with one item to note below.
Style.com said of this collection:
"Only Miuccia Prada could attach a label like "minimal baroque" to a collection whose references ranged from hospital scrubs to seventeenth-century cherubs to Jazz Age superwoman Josephine Baker. Fishing around for an alternative to "fresh," she herself came up with "brave, bold, and obvious"—that last one a typical head-spinner......But there was also more than enough of Prada's twisty-ness to boost this collection into her already chock-full pantheon of greats. Those cherubs, for a start, plucked from a curlicued baroque interior and all mixed up with bananas and naive monkeys in an exuberantly cartoonish print that looked like something lifted from a poster for a Josephine Baker performance at the Folies Bergère in the twenties.....As she said backstage, banana earrings vibrating: "It's time to be bold." And that's one maxim that, with any luck, will rub off on the world at large."
Fully lined in a black silk and closes with a hidden set side zipper. No size tag present so please check the actual listed measurements below. One hanging bead missing at the back near the side seam (photoed and priced accordingly)
Bust: 17.5" flat across from side seam to side seam
Waist: 18" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 39" from neck to hem - beads add 3" to length
Modern Sizing Equivalent: SML-MED
Item# DD2624
Reference Photos: (1) Look 29, Prada S/S 2011. / (2) Hana Soukupova (credit unknown). / (3) Ruby Jean Wilson in Vogue Australia, 2011. Photo by Nicole Bentley.
This garment has been professionally cleaned, pressed and is odor free. Thoroughly checked over before shipping, it will be ready to wear upon arrival.
This is the second time I have had this fantastic little dress in the shop but one size larger this time. It is easily one of the most recognizable of the dresses that walked the 2005 runway from Prada. It is constructed from a gorgeous custom screened stretch silk crepe that is one level up from chiffon as far its weight but has an opaqueness that a chiffon would not have. The bodice has a high neck and the sleeves and top skim the body. I love how the skirt cascades from the waist and has a little vents of contrasting fabric set along the hem of the skirt - as you walk or move these open and you get that glimpse of the lighter fabric. The fabric is hand painted and was screened to follow the lines and cut of the dress prior to construction. It is all cut on the bias so immediately settles into place and highlights a girl's curves perfectly. So sexy and I love the nod to the forties in its cut. A dress fit for a modern day pin-up girl. Excellent condition.
The dress is unlined and closes with a hidden set back zipper. The quality of finishes that one would expect from Prada. Tagged a Prada 43. The fabric does have some stretch
Sleeves: 26"
Shoulders: 15"
Bust: 18-19" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: 16.5" from neck to waist
Skirt: 25" from waist to hem
Modern Sizing equivalent: SML-MED
Item# DD2621
Reference Photos: (1) Look #43 Prada F/W 2005. / (2) Gemma Ward in i-D Magazine, October 2005.
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 still being produced as part of the signature collection by Roland Mouret and currently sells for US$2295 when it is available. This one is part of the original series produced back in 2007. My client was wait listed for the dress and finally was able to snag hers. The dress was seen on countless celebrities including Victoria Beckham (pictured here) who championed Roland. The best description is perhaps the one from the Mouret site itself:
"Aptly named for its sophisticated sci-fi feel, the iconic Moon Dress by Roland Mouret features a high neckline with raised darts, sharp cap sleeves and a diamond-shaped panel at the waist. Outlines the contours of the body with tailored structure and finished with an exposed back zip and a short slit."
Unlined with ribbon finished edges and made of a stretch cotton/elastane mix (the more current versions are made of wool). Closes with a back zipper. The label at the neck is no longer present but the correct care tag is present. Perhaps a touch of pressing to the seams consistent with wear and cleaning. Priced accordingly
Shoulders: no defined seam
Bust: 17-18" flat across from side seam to side seam
Waist: 13.5-15" flat across from side seam to side seam
Hips: 18-20" flat across from side seam to side seam
Bodice: 14" from neck to waist
Skirt: 23" from waist to hem
Modern Sizing Equivalent: SML-MED
Item# DD2620
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 1953 film "How to Marry a Millionaire" featured the mega-star line up of Betty Grable Marilyn Monroe and Lauren Bacall. William Travilla designed the bulk of the costumes for the film and they have become some of the most iconic looks on film. In the film Lauren wears this suit all through the beginning of the film. This is the actual suit made and worn in the film and to the best of my knowledge it was the only one made. It was purchased by a private Hollywood collector in the 1970s and was held in storage until it was recently purchased and made available for sale and I have now been asked to handle that sale. It is wonderful to have such an iconic piece of film history in the shop and the mind boggling to have a piece actually worn by Lauren in one of the most iconic of films.
The best description of the suit is perhaps found by watching the film and seeing it move on Lauren. It is cut to be fitted with a seamed bodice that follows the curves of the bust and a nipped in waist created by precise vertical and angled seams. The hips flare out and you can feel the stiffening material used in the inner construction so the suit would hold its shape no matter how Lauren moved during the scenes. The front closes with three buttons. The lining is silk and hand set. The skirt is very unusual and wraps to close with the open wrap at the back. This unusual skirt treatment is one if the strongest identifiers of the suit outside of inner studio/costume label. There are alterations done the waist and these are original - this would have been common on set to accommodate the star as she perhaps changed sizes during filming. I have been told that she wore this after the film as well for some of the press so the alterations could have been done the. It is in excellent condition otherwise and a remarkable piece of Hollywood memorabilia.
The jacket is fully lined in a grey silk and the skirt unlined. The skirt closes with a row of buttons offset to one side at back and wraps to close. The jacket closes with the buttons at the front as seen. The costume department tag identifying it from the film as as Luaren's costume is found in the inner part of the skirt. The jacket shows the slightest of dusting across the shoulders which a clean would rectify if this bothered you. I have not cleaned this because of the value and provenance as most collectors prefer items like this in their original state. so I was respectful of that. There are light perspiration marked under the arms on the interior silk that do not show on the exterior. The area where the inner sleeve lining is attached has some small areas where the stitches have come undone. Again this has all been left as found. The skirt has an extension at the waist that was told to me to be original and also left as found. Stitches at the inner front skirt to denote that it was the front - many hand done garments and couture items had this detail during this time frame. Serge finished seams in the skirt, hand set lining in the jacket and hand finishes throughout.
Jacket
Sleeves: 21.5"
Shoulders: 15.5"
Bust: 18.5" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 26" from neck to hem
Skirt
Waist: 13" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 32" from waist to hem
Modern Sizing Equivalent: SML-MED
Item# DD2619
Reference Photos: Lauren Bacall in "How To Marry A Millionaire", 1953.
Watch the film in it's entirety below!
This garment has been professionally cleaned, pressed and is odor free. Thoroughly checked over before shipping, it will be ready to wear upon arrival.
This wonderful tailored and chic dress is labeled Christian Dior Original and pieces form this time period with this label were almost always a custom or special order. This would have been based on the Dior Haute Couture collection designed by Christian Dior himself and you can clearly see the similar front draping technique in the several museum held included here from that 1955 collection and even one that Dita Von Teese owns and has worn. These where made in, and for, the American market but were based on the runway designs and with many of the same high standard finishes that the true Haute Couture pieces incorporated. I know for fact that there is an actual photo of this dress out there but unfortunately I have not been able to re-find it. One day I will come across it once again and it will be sent to the new owner if it is sold already when that happens.
The dress itself is a wonderful example of the tailoring Christian Dior put into his pieces. The fabric is a light serged wool with a touch of stretch to it that is possible because the fabric was cut and sewn on the cross grain. This makes it both incredibly comfortable to wear once on but at the same time acts like a "shaping" garment in that it hugs and smooths the body. The front is incredible with that high crossed panel detailing that is secured with a button - a detail featured prominently in this collection. The shoulders are rounded and you will note that there are no seams around the arm, rather the fabric extends and is shaped and cut in the proper technique. The sleeves narrow to a buttoned cuff at each wrist. The waist nips in and the skirt hugs the hips and narrows with a large front pleat and smaller back vent that allows movement. Pockets sit on each hip and are set to cleverly add a gentle curve and highlight that desired "hourglass" shape of the period. It is fantastic and even better in person. Excellent museum quality.
Unlined and closes with a back brass metal zipper. The front button is decorative but the button hole is properly finished. Interior waist stay that hooks to close. Buttons on each cuff. Note that all three buttons are different from each other so during its history there have been replacements made. The interior has a ribbon finish hem and is extremely well constructed. Almost entirely and clearly hand finished with some machine work as per the dictates of demi-couture.
Sleeves: 22"
Shoulders: no defined seam
Bust: to 19" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: 16.5" from neck to waist
Skirt: 26.5" from waist to hem
Modern Sizing Equivalent: SML-MED
Item# DD2617
Reference Photos: (1) F/W 1955 Christian Dior "Virevolte" Dress at the MET. / (2) Dita Von Teese. / (3) Model in Christian Dior’s Y-Line dress called “Blue de Perse”, Paris 1955. Photo by Regina Relang.
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 am so pleased to see velvet come back into fashion as it allows all these fabulous little vintage examples that utilize it in their design details to take center stage once again. Velvet is such a rich and luxurious fabric and it feels like a fresh and brave choice once again when used well. This little dress is lovely and the velvet on it not only adds that rich touch but becomes the central design detail with the stripe of it running down the front and the bow accenting the waist. The bodice is cut loose and full with a dolman feeling sleeve and generous cut. To off-set that volume the skirt is more fitted and is gathered up and under the velvet accent down the front center. It is very well made and the silk interior gives it a rich and sensual feel once on. Excellent condition
Fully lined in a black silk and closes with a back zipper. Each cuff has a button to close. On the tag is written "Hex 03" which may be the model name and number.
Sleeves: 27"
Shoulders: 16"
Bust: no true internal side seams so its flexible and meant to be worn loose
Waist: 16" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Bodice: 14" from top of shoulder to waist
Skirt: 30" from waist to hem
Modern Sizing Equivalent: MED-LRG
Item# DD2616
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 1975 Halston introduced menswear and his signature fragrance and he also showed this abstract prints and this fabulous pure red. In the reference pic within the photos here, you see a similar print on a longer more caftan dress. I also found the twin of this piece held in the permanent collection of the Indianapolis Museum of Art. The notes found there state: "Halston used very few prints and patterns in his collections, but he knew the importance of prints for camouflaging problems areas. He preferred abstract and irregular patterns over recognizable motifs. This dress has a very complicated construction. The bodice with its raglan sleeves and the sash were all cut in one piece on the bias, while the skirt was cut on a straight grain. The sash extends from the back of the bodice and ties in the front."
This chic and simple day dress version still employs the minimal seaming that Halston was so very good at but with a more sexy fit and that incorporated one of his signature wraps details. The dress slips over the head and has minimal seaming. The sleeves are long and slim and the body of the dress hugs your curves. At the back the fabric is not attached all along the waistline and it extends at the sides into long ties that you then wrap and tie at the front to cinch in the waist. In the Phaidon Halston book there is a quote by Bob Colacello that states "His colors were so American, they were like out of a Crayola crayon box. Halston's red and purple and green were like true colors; they weren't pastels, they weren't dark, they weren't iridescent - they were very true and very American". I love the red of this piece and the little pops of white print that covers the dress. Very fabulous and chic. Excellent condition
Unlined and made of a stretch silk jersey. Slips over the head with elastic at the waist. The back has extended ties that wrap to the front and tie. The back is intentionally left unattached to the waist. Hidden pockets the hips. The fabric has stretch so will accommodate a variety of sizes and the measurements below are the comfortable range lying flat.
Sleeves: approx 18"
Shoulders: no defined seams
Bust: 16-20" flat across from side seam to side seam
Waist: 10-14" flat across from side seam to side seam
Hips: 17-21" flat across from side seam to side seam
Bodice: 15" from top of bodice to waist
Skirt: 27" from waist to hem
Modern Sizing Equivalent: XS-MED
Item# DD2614
Reference Photos: (1) Spring 1977 Halston Runway. / (2) Mid 1970s Halston Day Dress at the Indianapolis Museum of Art. / (3) Harper’s Bazaar September 1975. Photo by William Connors (from the book “Halston" by Phiadon)
This garment has been professionally cleaned, pressed and is odor free. Thoroughly checked over before shipping, it will be ready to wear upon arrival.
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The Yves Saint Laurent safari top has become one of the holy grails in the vintage world and not only do we have a very early version of that here but also the matching pants!. This is the first full set that I have had pass through my hands and it is amazing. It originally was owned by Astrid Lundstrom who was Bill Wyman's common-law wife from 1967 till 1983. Bill was of course the bassist for the Stones from 1962 until 1993. This was acquired directly from Astrid and was worn and loved by her adding to its already amazing provenance. Countless celebrities have been spotted in this coveted look and it is one of the most identifiable of Yves' pieces ever made. This is made of a deep brown velvet that gives it depth and texture and in my opinion add to the more evening feel if it as opposed to its khaki counterparts. It has all the classic hallmarks of that tunic made famous when it was photoed on Verushka. It's short and meant to be worn as a tunic with front ties and the ties loop through down the front. The pants are cut with that perfect flare - skinny and fitted through the hip and then flare and long to the cuffs. This is an exceedingly rare piece to come up to market and it very well may be the only one in existence since Astrid did custom order pieces specifically based on her preferences in fabrics. Excellent, museum quality condition.
In the description for the Kyoto Costume for a similar set pictured here as a reference photo, they remark on the importance of this suit: "The May 1968 protests in Paris had a dramatic effect on the values of French society at the time. Yves Saint Laurent used this social movement as his pretext to push on ahead with the Pant Suit for women, something that had been taboo till that moment. Saint Laurent’s caliber as a designer is evident in this new look, which, while "unisex," remained ultimately feminine. The garment on the left, Saint Laurent’s ‘city pants,’ was acclaimed for representing the same functionality as a man’s suit. The safari suit on the right is from the designer’s 1968 Spring Summer collection, the theme of which was "Africa", and in which Saint Laurent reinvented the functional hunting suit and turned it women’s town wear."
Unlined but the fabric is self backed. The pants close with a front zipper and the top slips over the head and you adjust the ties at the front. Note that the pants did not do up in the mannequin - they are definitely an XS in size, while the top will fit a XS-SML. The pants are tagged a vintage YSL 36 and the top has no size tag. Very light patina to the velvet at the high crease areas but nothing I would deem enough to take away the rating of vintage excellent on such a rare garment. The fabric has a touch of stretch to it.
Top
Sleeves: 23"
Shoulders: 15"
Bust: 18" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 27" from neck to hem
Pants
Waist: 12.25" flat across from side seam to side seam
Hips: 16" flat across from side seam to side seam
Length: "43 from waist to hem
Inseam : 33" from waist to hem
Modern Sizing Equivalent: The pants are XS, the top will fit XS-SML
Item# DD2612
Reference Photos: (1) Veruschka in a Yves Saint Laurent Safari Suit, 1968. Photo by Franco Rubartelli. / (2) French designer Yves Saint Laurent posing in front of his new shop in London on Bond Street with Betty Catroux (left) and Loulou De La Falaise, September 10 1969. / (3) S/S 1968 Yves Saint Laurent Safari Suit (on right) at the The Kyoto Costume Institute.
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 Naeem Khan dress is easy to wear and really catches the feel of the moment. It is made from two layers of an olive silk chiffon with a pretty expanse of embroidery done in a white that runs across the front and down past the waist and also down each sleeve. It is cut to just slip on and go with elastic and the cuffs, waist and neck. On my mannequin the neckline would only sit higher up but you could easily wear this fully down on each shoulder to leave then bare. The bodice is cut loose and easy above the elastic waist and the skirt underneath is cut with simple straight lines. The embroidery work at the front has a real feel of European vacations by the sea and I know this is a dress that you will wear constantly. Excellent condition
Fully lined in a second layer of the same silk chiffon and slips on to wear. No size tags but the cut will allow for a variety of sizes.
Shoulders: elastic with no defined seam
Bust: to 21" flat across from side seam to side seam
Waist: 12-18" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Bodice: 16.5" from neck to waist
Skirt: 21" from waist to hem
Modern Sizing Equivalent: XS-MED
Item# DD2603
Reference Photo: Look 11 from Naeem Khan's Resort 2012 Collection (vogue.com)
This garment has been professionally cleaned, pressed and is odor free. Thoroughly checked over before shipping, it will be ready to wear upon arrival.
Unlined and closes with ties and buttons as described above. Slips over the head. Tagged a modern size 40IT but with a generous cut. Please check the measurements below or know your size in this label.
Bust: 17.5" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 43.5" from shoulder strap to hem
Modern Sizing Equivalent: SML-MED
Item# DD2599
Reference Photos: S/S 2015 Altuzarra, Look 28 (vogue.com) / Rihanna (with Kim Kardashian West) at the Roc Nation Pre-GRAMMY Brunch 2015.
This garment has been professionally cleaned, pressed and is odor free. Thoroughly checked over before shipping, it will be ready to wear upon arrival.
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This rare and amazing, entirely hand painted, silk caftan gown is just wonderful. This version is a beautiful and extremely rare combination of a peach, a deep goldenrod yellow and pinks, with a pale pink blush belt. I have never actually seen this combination before and suspect it was specially done for Creeds which would make it even more rare and desirable. It is made entirely of hand painted silk chiffon with a satin sash and this one has a lined skirt - also a rarity. The bodice is cut loose and full and dips dramatically to plunge almost to the waist at the front and is embellished with pearlized, shell shaped beads that run around and behind the neck and are scattered on each long and wide 'butterfly' sleeves. The waist is a wide gathered elastic band and the skirt below that flows full and soft to the floor. A pink silk satin belt cinches in the waist and adds the perfect finish. The print is entirely done by hand with beautiful lilies painted on it and the field of lilies text she is infamous for is scrolled across it top to bottom. 'I love beautiful flower' 'Beautiful flower' 'A lily flower, a lily, a lily' 'A field of lilies' 'Lilies lots and lots of beautiful lilies a field of yet more lilies' 'Zandra Rhodes, Zandra Rhodes' 'Grass' 'Leaves more leaves, leaves green' 'Zandra's beautiful lilies' is written on various parts. It is a true work of art, exceedingly rare and very special. A true piece of fashion history. Excellent, museum quality condition.
This is perhaps one of Zandra's most well documented pieces and examples are held in museums and private collections world wide. On the Zandra Rhodes website the text describing this dress reads:
"Certain dresses in particular have become known as Zandra Rhodes classics that are revisited every season and reworked, such as her best-selling dress known simply by its style number '73/44'. This feminine silk chiffon dress first came out in 1973 with a 'Field of Lilies' print, and has a deep v-neckline, long wide sleeves, and a full length skirt. It is finished with a satin sash in a contrasting or complementary colour, which is another Zandra Rhodes trademark
Her site further references versions of this gown that can be found in these books: The Art of Zandra Rhodes (Rhodes and Knight 1984) this dress is shown in a different colourway as butterfly no. 66 and is shown photographed flat (p.102); the style number 73/44 is described as a 'CLASSIC' (p. 238). Zandra Rhodes a lifelong love affair with textiles (Monsef et al 2005) this dress is shown in a photograph by David Bailey taken for British Vogue 1974 (p.90). This style number is described as Zandra Rhodes' 'best-selling garment' that has 'graced celebrities, royalty, models and women around the world' (p.91). Fifty Dresses that changed the world (Design Museum 2009) the style number 73/44 is included with the title 'Painted Chiffon Dresses' (pp.62-3)."
The V&A Museum notes about this print: "Zandra Rhodes considers the Lily prints to be the best of her work, and particularly significant. It was while developing the Lily textiles that she developed the method of reversing the silkscreen to produce a mirror image of the print and create symmetrical patterns. This went on to influence many of her future significant prints, such as 'Lace Mountain', 'Cactus Volcano' and 'Scribble Turnaround'. The Lily prints also represent the introduction of handwriting and calligraphy into her textile designs. Another point of significance for Zandra is that the Lily dresses were the first dresses that she started applying beading to, which would become a future trademark." It also comes with its original silk satin pink sash that has the Zandra Rhodes Sample label hand sewn to its back. Making this perhaps one of the first of these dresses to have been produced!
Partially lined with a second layer of peach silk chiffon through the bodice only. The dress has an elastic waist and slips on to wear. The skirt is fully lined in a yellow silk and the pink silk satin sash is original to the dress. Hand finished throughout and entirely hand painted.
Shoulders: no defined seam
Sleeves: approx 37" to longest points
Bust: no trued defined side seams
Waist: 15-17" across
Hips: 23" flat across from side seam to side seam of the inner lining
Length: 56" from shoulder to hem
Modern Sizing Equivalent: SML-LRG
Item# DD2597
Reference photos: (1-2) Lorde wearing this dress in her "Perfect Places" music video, styled by Karla Welch. Click here to see the video on Cherie's instagram > / (3) Jane Goddard in Zandra Rhodes by David Bailey, Vogue UK, 1974. / (4) Bianca Jagger wearing a Zandra Rhodes dress for Cosmopolitan, 1974.
This garment has been professionally cleaned, pressed and is odor free. Thoroughly checked over before shipping, it will be ready to wear upon arrival.
This is an exceptionally beautiful Jean Patou silk dress that is an absolute masterpiece. It is an important and early representation of both the house of Patou and the level of haute couture being produced during this time period. Jean Patou once said "Certain dressmakers desire to pass for an artist. I have one ambition: that is to have good taste." and this dress is the very epitome of that statement. The dress is numbered and is true haute couture piece that has been made entirely by hand and represents countless hours of dedicated hand work within the atelier. It is one of the most beautiful dresses that I have had come through my hands and the photos cannot begin to convey the detail and fine work that has gone into the creation of this piece. It is constructed from two silks - a rich black silk satin silk used for the bust, straps and hem and a fine black, pleated silk chiffon that lies between. The silk satin portions have hand done trapunto quilting for a 3D effect that is quite beautiful and the designs swirl against the background fabric. The bust is fitted and has a gentle curve up from the waist. The waist itself is hand gathered silk chiffon and the way it is done gives it a soft and romantic feel. Under this the skirt falls in a cascade of silk chiffon, weighted by the 8" hem of silk satin. The skirt is an absolute marvel. If worn with no underskirts it lies as shown, full but not overly so. This hides the fact that there is actually yards and yards of fabric in that skirt. I laid it out and shot it from above so you can see - it is not just a circle skirt but beyond a circles skirt with an excess of fabric that goes beyond even a true circle. With the addition of a crinoline underneath you can go as full as you wish. Without one you get a stunning semi-transparent feel that gives it a very modern twist. Really an extraordinary piece and I cannot even imagine the hours that it took to create this dress. Excellent condition.
The bodice has a hand set silk lining and is boned. Finished to Haute Couture standards and entirely done by hand. Closes with hand set fine painted metal zipper at the side. Attached inner waist stay. Numbered label 74.994. One of the interior boning is slightly breaking through its fabric holder but seems stable and this of course is only in the interior. This is listed in clean, odor free, as found condition as I don't like cleaning haute couture unless it is absolutely necessary. The details are even more beautiful in person
Bust: to 17" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 15.5" from top of bodice to waist
Skirt: 24.5" from waist to hem
Modern Sizing Equivalent: SML-MED
Item# DD2572
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 another fabulous and early example of Christian Dior's work that is quite extraordinary and its seemingly simple cut belies its beautiful lines once on. This one has the New York label so is what I consider to be demi-couture from this time period of Dior's history. These where made in, and for, the American market but were based on the runway designs and with many of the same high standard finishes that the true Haute Couture pieces incorporated. Done in a simple black silk, it is based on a modified "New Look" silhouette where the top is sculpted to the body and kept simple and the skirt has volume through the clever cut. The bodice from the front is sleek and simple with a formed bust-line and high neck that is cut wide across the shoulders. The sleeves are cut slim and straight and end just below the elbow. The waist is fitted and nips in and then the skirt flares out in an interesting and unique design. It is basically a slim cut pencil skirt underneath that has an angled circular panel laying over it that really gives it that beautiful sense of volume. I love the scooped back and that amazing sculpted bow that sits on one hip over a gathered draping of fabric. An exceptional and very chic dress that is a beautiful example of early Dior. Excellent condition.
The silk is a good weight and has a slight ribbed texture to it but very fine. It is interlined through the skirt and the bodice with a fine black silk organza and the inner skirt is suspended form a panel of this same organza so that you get no extra weight or fabric directly under the hip. It is marvelous. It closes with a back, painted metal zipper. Hand finishes throughout.
Sleeves: 17" approx.
Shoulders: no defined seam
Bust: 17.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Bodice: 15.5" from shoulder to waist
Skirt: 26" from waist to hem
Modern Sizing Equivalent: SML-MED
Item# DD2561
This garment has been professionally cleaned, pressed and is odor free. Thoroughly checked over before shipping, it will be ready to wear upon arrival.
For the Resort 1980 show Halston debuted the ruffle. In the book "Halston, An American Original" It is noted that " this was somewhat of a departure for him, but one that offered him an engineering challenge". Others were doing the ruffle and Halston was "determined to find a way to do it better". By 1980 ruffles were shown in their full glory and WWD even nicknamed Halston "Mr. Ruffle". Ruffles were everywhere between that collection and 1982 and silks and silk organza's were his fabric of choice for both their delicacy and lightness, but also their ability to hold and create the shapes he desired. In the photo attached he is seen with a bevy of models, one wearing what appears to be the longer version of this midi-dress and you can see how wonderfully it sits when on a real body.
This dress is stunning. Made of a deep vivid royal blue that is deeper and more rich in person then how it photoed. The construction is amazing - the ruffles are overlapped and they wind and curve around the body in a spiral. Not pieced together but each a long independent curved cut panel of fabric attached on a curve to the base silk.. Technically this is very difficult and uses an extreme amount of fabric. It would be cost prohibitive to try to replicate this today. The angle of the neckline follows the swoop of the curves giving it the feel of one of his signature one shoulder pieces but in this case one shoulder is held up by a tiny silk strap and the other other is a top of a tier. Once on the body it falls into place and creates the astonishing cascade that somehow managed to combine volume and length at the same time. It is a work of art and a testament to the genius of Halston. Excellent condition
Unlined with hand finished interior seams. It is bias cut and slips over the head to wear with no closures. The bias cut allows for a wide variety of sizes as it drapes and falls into place once on so it will work on a larger range of sizes and will just come up in length if you are larger and fall lower if smaller. The color is deeper in person.
Bust: 17.5-19" flat across from side seam to side seam
Waist: 16-19" flat across from side seam to side seam
Hips: 18-23" flat across from side seam to side seam
Length: 46" from shoulder to hem
Modern Sizing Equivalent: SML-LRG
Item# DD2544
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 highly suspect that this is a piece of demi-couture that has long lost its label. It has that feel and the workmanship supports this. I have taken a photo of the inner seams and you can see that the edges are hand finished and others are ribbon finished. Regardless of its origins it's a stunning piece that is of very high quality and I think that in person you will be more then pleased with it. The dress is almost startlingly in its beauty and exquisite construction. It is made of a beautiful rich silk satin that has been custom screened with a deep, rich blue floral print that has a soft and romantic feel. The tones and washed floral pattern is beautiful and the effect of those blue hues against the black is beautiful. The neckline is cut square with capped high sleeves and a simple fitted bodice. The waist nips in and the skirt has an stunning curve to it with panniers and slight bustling at the hips to create that beautiful curved shape. It has its original belt that wraps around the waist to add even more shape and from which a large half bow is attached. This ends in a beautiful fringe. It is refined glamour mixed with the touch of the avant garde and very beautiful. Excellent condition
Fully lined in a hand set heavy black silk and closes with a back painted metal zipper. Hand finishes and beautiful construction. The belt is original and snap and hooks to close.
Shoulders: no defined seam
Bust: 18.5" flat across from side seam to side seam
Waist: 13.5-14" flat across from side seam to side seam
Hips: 23" flat across from side seam to side seam
Bodice: 15" from shoulder to waist
Skirt: 29" from waist to hem
Modern Sizing Equivalent: SML-MED
Item# E610
This garment has been professionally cleaned, pressed and is odor free. Thoroughly checked over before shipping, it will be ready to wear upon arrival.
During the 1940s William Travilla solely designed for the movies and many of the most iconic dresses from this time period, worn by some of the biggest stars, were created by him. By 1953 he had started to also design for the public as demand for the dresses women were seeing on the big screen increased. By the 1950s he was close friends with Marilyn Monroe and did the costumes for a series of her movies including "Gentlemen Prefer Blondes" in 1953. In that movie Marilyn wears a pink silk gown in the role of her character, Lorelei Lee, in the famous sequence in which the actress sings the song "Diamonds are a Girl's Best Friend". Though this dress is obviously not that exact dress, it is most likely a one-off made by request of some woman at the time who went to Travilla to re-create that look. Travilla would have been doing most of the work by hand at the time and indeed this dress is mainly finished by hand and can be considered demi-couture. This version is made of a purple silk and has most of the same lines as its inspiration - it is a strapless and floor-length with the neckline cut straight across and folds running down each side of the bodice. The waist is nipped in and the skirt falls in a straight column to the floor. At the back the fabric wraps over itself and above the waist is the suggestion of a large half bow in the same shade as the dress. This version has straps but they could easily be tucked in to wear it strapless. A trim of velvet running across the edge of the bodice is the perfect finish. Excellent condition.
The bodice is lined in a heavier silk and it is boned and shaped. The skirt is lined in a fine purple silk. It closes with a handset back zipper. Hand finishes and ribbon finished hem.
Bust: 16.5" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Bodice: 14.5" from shoulder strap to waist
Skirt: 42.5" from waist to hem
Modern Sizing Equivalent: XS-SML
Item#DD2536
Reference Photo: Marilyn Monroe in Gentlemen Prefer Blondes, 1953.
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 what haute couture dreams are made of. It is one of the most dramatic, over the top, statement piece s that I have ever had and I love it. I love that you can pouf and puff that outer skirt to the most incredible volumes and make this the kind of gown that will turn every head when you walk into a room. On the wrong girl this might seem to be too much but on the right girl it will be stupendous and become legendary for its audacity and boldness. You so rarely see Azzaro Couture pieces anywhere and to have one as incredible as this is just a treat. Azzaro was a favorite of actresses like Raquel Welch and Sophia Loren among others and quickly gained international recognition with his sexy designs. Here he takes silk taffeta to new heights with this bold gown. It is just stunning. It has a full inner dress that goes to the knee or just above depending on your height. (I have to be honest that I would be tempted to really shorten this inner skirt to give more contrast tot he skirts and show more leg). This inner dress is made of black silk taffeta and is strapless with a heavily beaded bodice and sweetheart neckline. Attached to this around the hips is that incredible skirt made of the same black silk. It is made of two tiers, one atop the other and falling to different lengths. Each has been padded with tulle or netting - this keeps them incredibly light yet also allows you to "mold" and manipulate them to fall flatter or to pouf out to the extreme as I have done for the photos. Despite its massive volume and extravagance it is surprisingly not as heavy as one would expect and because the inner dress is so fitted and the skirts so light and well constructed it feels very secure on. It is absolutely stunning and you will be hard pressed to find a gown of this quality and drama at this price anywhere. Excellent condition.
Fully lined in black silk with a built in boning and foundation though the bodice that hooks to close separately. It closes at the back with a painted metal and nylon zipper. The skirts have netting inside to create the volume you see. I see some grubiness along the bottom edge of the skirts - it does not detract and would be almost impossible to have not happen because of the length. It was a little large on my mannequin so on the right size girl it will fit even better.
Bust: 18" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Bodice: 16" from top of dress to top of skirt
Skirt: 46" from top of skirt to hem
Modern Sizing Equivalent: MED-LRG
Item# DD2533
This garment has been professionally cleaned, pressed and is odor free. Thoroughly checked over before shipping, it will be ready to wear upon arrival.
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This is an early and rare piece from the very earliest days of Roberto Cavalli's career and it is quite fabulous as it demonstrates wonderfully the process he developed where he was able to transfer prints and paints onto leather. He presented his first collection with this process in 1972 and immediately the bohemian crowd flocked to him to place their orders. (the other jacket I am listing along with this one is also a museum quality example of all three of his signatures during this time period - the printed leathers, the hand painted leather and denim.) It is interesting to note that Bridgette Bardot was a huge fan of his work and many of the shots from this time period of her have her wearing his designs. This jacket is literally a work of art. I count at least 8 separate designs worked onto the leather and then patched together to form this incredible jacket. It is made of a very very lightweight leather that is left unlined so is incredibly thin and more like a fabric then a leather. The designs are beautiful and a mix of different florals. It is cut to be fitted through the upper body and then flares out under the waist. It has an incredibly long and pointed collar. On each sleeve and the back is a leather "medallion" with streamers of leather falling from each. It's amazing really. It has no label other then its shop label but the prints and copper enamel buttons identify it as a Cavalli. It can be worn as a jacket or mini dress. Excellent, museum quality condition.
Unlined and closes at the front with snaps hidden under the buttons. The Judy it is photoed on is a size 2 and it just fits this so is a definite 0-2
Sleeves: 22"
Shoulders: 14.5"
Bust: 16" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Bodice: 14.5" from neck to waist
Skirt: 18" from waist to hem
Modern Sizing Equivalent: XS
Photo: Brigitte Bardot (credit unknown)
Item# S740
This garment has been professionally cleaned, pressed and is odor free. Thoroughly checked over before shipping, it will be ready to wear upon arrival.
We had an Oscar dress a couple of years back that we successfully dated based on a piece held at The Met and this dress has the same collar detail as that so I am sure it is also from the 1968 time period. That clue along with the early Oscar for Jane Derby label pretty much make it a shut case. Just before Oscar de la Renta went off on his own and opened his own atelier, he spent three years as the head designer at the Jane Derby company. He actually bought out the Jane Derby company in 1969, changed the name and Oscar de la Renta as we know it today was born. That makes this wonderful little dress extra special as it is from that very short, and early time period of his career before he officially became the powerhouse he did, building an international recognized brand that continues to thrive even after his death in 2014. This beautiful little dress mixes a bright yellow silk brocade dress with a gold lurex thread that is set among the floral design and give the fabric its slightly 3D, puffed feel. The fabric is a fabulous and yellow has almost a neon tint to it that works amazingly well with the gold backdrop. It is just heavy enough to hold that divine flared shape as it nears the hem but still feels very light on. The collar has a wonderful little notched and squared off shape and the sleeves are sweet little caps. Hidden pockets along the front are the perfect finish. Excellent condition
Fully interlined in a fine, pale yellow tissue silk and closes with a back painted metal zipper. Hand finishes throughout, ribbon finish hem. Silk lined hidden set pockets along seams of the dress.
Shoulders: 15"
Bust: 17.5" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: 20.5" flat across from side seam to side seam
Length: 36.5" from neck to hem
Modern Sizing Equivalent: SML-MED
Item# DD2530
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 rare and stunning very early Thea Porter from 1968 that is quite beautiful! I love that it has the feel of her caftans and is indeed a forerunner of what was to become known as one of her signatures, but here the shape is more subtle and wearable, crossing that line between the caftan and a dress Yards of almost weightless, flowing, bias cut black silk chiffon were used. it was deliberately left unlined so you get this transparency that is very sexy. It is cut with a slim upper bodice and then flows to the floor in a supermodel long cascade of chiffon. The line is unbroken but there are little pockets hidden along the sides. The neck is high but the way that the buttons are set allow for a hint of skin to peek through. The sleeves are a work of art! They are cut on an angle at their ends so they trail well past the hands and widen as they near the cuff. Most remarkably the entire caftan is edged in gold metallic thread and I believe that the thread is actually antique. Thea was known to hunt antique stores and markets in far off places around the globe and then incorporate use what she found in her designs, especially early on in her work. The edging is all high quality real metallic thread and certainly turn of the century if not earlier. The thread has a patina that is now a deep copper. It runs down each side and around the edges of those incredible sleeves and also acts as a dramatic decorative detailing on the front. A very special piece, very rare and very special. Excellent, museum quality condition
Unlined and slips on to wear. Closes at the neck with gold toned buttons. A teeny bit of break to the thread at the neckline but I do not feel this detracts at all from this special piece
Shoulders: 14"
Sleeves: 21" to shortest point 35" at longest
Bust: to 19" flat across from side seam to side seam
Waist: to 17" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 54" from neck to hem
Modern Sizing Equivalent: XS- SML
Item# DD1440
Photographed for creative purposes on Nini Nguyen of Nini's Style courtesy of Nini and her team. Click here to see the full lookbook >
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 brilliantly hued pink silk taffeta bubble gown is what haute couture dreams are made of. It is over the top, dramatic and an absolute statement piece that will turn every head when you walk into a room. On the wrong girl this might seem comical but on the right girl it will be stupendous and become legendary for its audacity and boldness. You so rarely see his Haute Couture pieces anywhere and to have one as incredible as this is just a treat. Azzaro was a favorite of actresses like Raquel Welch and Sophia Loren among others and quickly gained international recognition with his sexy designs. Here he takes pink taffeta to new heights with this bold gown. It is just stunning. The bodice is hand draped and pleated and constructed to shape - a true feat to construct properly when using a fabric like this. The skirt is made of the same pink silk and flows in a series of padded "bubbled" tiers that fall to the floor. Each of those tiers has an inner construct of tulle so that the shape is kept and the volume her desired is achieved. The bolero/shawl that tops the gown is nothing short of amazing. It has a single arm opening and is made so that you simply drape the other side as you wish. This creates a single shoulder look as I have styled it or you can play around with it and get it to sit the way you wish. It is stunning. Excellent condition.
Fully lined in pink silk with a built in bra though the bodice that hooks to close separately. It closes at the back with a painted metal and nylon zipper. The bodice is boned. The cape/bolero has a single arm hole and no closures that I can see though you could easily add a hook & eye.
Dress
Bust: to 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Interior hips: to 21" flat across from side seam to side seam
Bodice: 19" from top of bodice to bottom of seaming where it meets the skirt
Skirt: 43" at the longest point at the back hem
Shawl
Width: 41" side to side
Length: 14" top to bottom
Modern Sizing Equivalent: SML-MED
Item# DD2518
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 exceptionally beautiful, draped, heavy silk Jean Patou dress that is an absolutely masterpiece and an important representation of the house of Patou and the level of haute couture they were producing at this time. Jean Patou once said "the modern woman leads an active life, and the creator must therefore dress her accordingly, in the most simple way, whilst maintaining her charm and femininity." and this dress is the very epitome of that statement. As time passes this piece will only increase in value and is truly a collectible, if not museum worthy piece. Beyond its distinguished provenance it is one of the most beautiful dresses that I have had come through my hands and the fit once on a real body is divine. The dress is numbered and is true haute couture piece that has been made entirely by hand and represents countless hours of dedicated hand work within the atelier. A heavy rich, deep raspberry pink silk is bias cut and has been hand draped and gathered in towards the waist so that the entire dress seems so either meet or begin at that point depending on your perspective. The neck plunges (a hook allows you to control whether that is a low plunge or a to-the-waist-plunge) and the front curves up in a high slit that follows that beautiful draping. It completely opens so has the added versatility in that you can use it as a layering piece as well. The final effect has the feel of a Grecian goddess and the color is perfect on most skin tones. Really an extraordinary piece that will be the star of your wardrobe. Excellent condition.
Fully hand set lining in a matching custom dyed silk. Finished to Haute Couture standards and entirely done by hand. Closes with a series of hook & eye and snaps at the front. Inner waist stay. Numbered label 10.950. Note that the waist measurement is that of the inner waist stay - I believe you could potentially adjust this and the corresponding snaps and hooks up or down 1/2" without effecting the drape. I see a slight spot on the back just under the waist and two tiny areas just above. This is listed in clean, odor free, as found condition and these most likely will come out with specialty cleaning but I don't like cleaning haute couture unless it is absolutely necessary. I attempted to photo it (see the photos) but you can see it doesn't really even register on camera. It is negligible and does not affect the value as priced or its ability to be worn. I feel a smaller frame could wear this well and it would just drape with a looser fit. The color is even more beautiful and rich in person.
Sleeves: 16.5" approx.
Shoulders: no defined seam
Bust: open with no true side seams
Waist: 15" flat across from side seam to side seam
Hips: to 21.5" flat across from side seam to side seam
Bodice: 18" from neck to waist
Skirt: 40" from waist to longest point of back hem
Modern Sizing Equivalent: SML-LRG
Item# DD2517
Reference Photos: Cherie, Owner of Shrimpton Couture, for her weekly style column on our blog Curated. (Photos by Erin Leydon) Click here to see the full column >
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 was offered through one of Moda Operandi trunkshows back in 2012 and I do not believe that it was produced beyond that for the American market. Resort collections have much smaller runs and that is always a bonus for collectors of a line's earlier pieces as they become more rare and more valuable as time goes by and they are harder and harder to find. The original cost on this was $1300 before taxes and this one was purchased and never worn. It is made of silk and has a long and easy cut that is still appealing. The supermodel length is perfect if you are tall and the pattern still works if you need to shorten it. The reviews of this collections say it best and it is of particular note that they all reference this particular dress or its print especially - I would hazard to say that it was the star of the season;
Sarah Mower of Vogue said; "Justin Thornton and Thea Bregazzi’s vibrant arrangements are far more modernist, but just walking into their showroom is enough to make you blink with pleasure as you drink in the color. “There are hydrangeas, poppies, gerberas, chrysanthemums, which we love,” said Thornton. “But we wanted to do something nontraditional with them. So we started looking at Jeff Koons’s paintings with all those super-bright pop colors and brushstrokes dragged across them. And Nick Knight’s photos of flowers.....And there are long, breezy shapes in which nothing much touches the body from the shoulder to the ground, but which still manages not to look schlumpy.” and the Vogue runway review said: "The natural English flowers that decorated Justin Thornton and Thea Bregazzi's Fall prints simply morphed into plastic-fantastic, joyfully fake blooms inspired by those that Koons creates. They gave up all pretenses of naturalism—indeed, many of the prints puddled around the hems into graphic streaks of pure, painterly color. The scale was juiced, too: Their oversized poppy and hydrangea prints, splayed on simple day dresses, pencil skirts, and cropped sweatshirts, were positively steroidal. But because Thornton and Bregazzi leavened the bombast with moments of calm—like the plain crepe back on a print-front dress—they got a lot of mileage out of going faux. Peter Rabbit might've run scared, but shoppers shouldn't. More flower, more power."
The dress retails its tags, is unlined and slips on to wear with a button and loop above the back keyhole. 100% silk and in new, unworn condition. Tagged a M and meant to be worn loose and easy
Shoulders: 16.5"Bust: 20" flat across from side seam to side seam
Waist: open
Hips: open
Length: 66" from neck to hem
Modern Sizing Equivalent: MED-LRG
Item# DD2515
Reference photos: Preen and Moda Operandi
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 Question
In 1972 Zandra Rhodes was visiting New York on a regular basis and was good friends with a couple named Donna and Jo Lomardo. The three of them would often go antique hunting and on one such foray Zandra found a shell covered wicker basket and it is from this little object that her entire 1972-73 "Shell" collection was born. Pieces from this collection are held in museums world-wide and are coveted by collectors. This exceptional gown could potentially play double duty as a wedding gown on the right girl.
When this dress was designed runway shows typically ended with a finale gown that was appropriate for a wedding dress and Princess Anne wore that final dress finale from this collections runway show for her official engagement photos. A year or so later Bianca Jagger also wore a gown with similar design elements. I include these as it really shows how these ivory dresses by Zandra can really work for a range of occasions. The neckline of the dress dips very low and ties with a cord on both the front and back with a bit of a cross over of itself near the base. The edges of the gown have a hand painted border in a same tone as the dress. The front is hand embellished in a pretty spray of seashell shaped beads, pearls and other iridescent bead work that catches the light and adds a layer of texture. The waist is caught up in an elastic and then the skirt sweeps to the floor in a cascade of feather light silk that is entirely hand painted. The edges of the hem of the skirt are finished in a series of jagged points The dress has its original underskirt that you can wear to add further shape and volume. Without the underskirt the entire dress is slightly transparent. The skirt has enough volume that you can also add a fuller skirt to get a real bell shape if you want it to have a more formal gown feel (Which is what I did for the photos of me in the dress so that you can see how full it can go). The sleeves pick up the hem detailing of the skirt and are absolutely incredible. Each starts from the waist, has tremendous volume through the sleeve and ends in an elaborate cuff with the same pointed finish as the hem. Each cuff has three full layers of silk and the end of each point of the bottom two layers are adorned with embellishment. The workmanship is incredible and it is a beautiful gown. Excellent condition.
The bodice is partially lined with an off-white silk chiffon and the rest of the dress is unlined for a semi-transparent effect. It has elastic through the waist and slips on to wear. Elastic at each cuffs above the layered tiers. The bodice is embellished with shell beads, pearls and other bead work. Hand finished throughout. Hand painted fabric. The underskirt closes at the waist with hook and eye over a keyhole opening. There is enough volume for a fuller crinoline. The underskirt skirt original to the dress is very tiny through the waist but the dress itself will work on a wide range of sizes. Note that the color of the dress is a light ivory with a slight grey undertone.
Outer Dress
Sleeves: 31"
Shoulders: no defined seam
Bust lining: 18-20" flat across from side seam to side seam (there would be no defined side seams if this was removed)
Waist: 14-18" flat across from side seam to side seam
Hips: open
Bodice: 16.5" from natural neck to waist
Skirt: 41.5" from waist to hem
Inner Skirt
Waist: 11.5" flat across from side seam to side seam
Hips: open
Length: 40" from waist to hem
Modern Sizing Equivalent: XS only (if planning to wear the underskirt that comes with)
OR will fit XS-MED or even LRG if you use a larger underskirt
Item# DD2513
Reference Photos: (1) Bianca Jagger for Cosmopolitan, 1974. / (2) Princess Anne & Mark Phillips by by Norman Parkinson, 1973. / (3) From the book "Zandra Rhodes; a lifelong love affair with textiles" originally from interview magazine, photo by Francesco Scavullo, 1973. / (4&5) Cherie, Owner of Shrimpton Couture, by Erin Leydon, note that in these photos, I am wearing a fuller crinoline then the one that comes with the dress.
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 stunning and rare gown was designed by Bob Mackie. Mackie was best known for dressing Cher and for his undying love of opulence and bead work, both of which he incorporates heavily into the best of his designs. He worked for both Edith Head and Jean Louis prior to working with designer Ray Aghayan which led to his incredible journey in designing for stars like Cher and Diana Ross for many many years. In some ways he and his creations defined their careers and that era of glamour. I think he secretly always designed for the big screen and the bygone glamor of Hollywood as his work is always over the top and extravagant. This is an amazing ivory white silk gown that is heavily beaded and extremely sexy and flattering once on. The base of the gown is made of a white silk chiffon that has hundreds of vertical bands made of silver and white beads laid out in three distinctive patterns down the gown. This combination of the two colors of glass beads and different beads shapes used, give the gown an extra layer of texture and sparkle as every inch of it catches the light and sparkles. The dress is incredibly heavy off the body because of that extensive bead-work, and yet once on the body it lies and drapes in a way that it is balanced and not at all unwieldy. The bodice is cut loose and easy with sleeves that come out form the waist and narrow to extensively beaded cuffs. The front crosses and plunges and the waist wraps slightly over itself and hooks into place. You can wear it with the heavily beaded belt it comes with or without it. The skirt also wraps over itself at the front partially and snaps to hold it to about mid-top of the thigh and then there is a slit after that. It is dramatic, over the top and quite fabulous. If you even remotely love it in the photos you will squeal when you see it in person as it is so, so, so much better in real life. Extremely well made and from his mainline demi-couture label. Excellent condition.
Fully lined in a ivory white silk crepe with the sleeves left unlined to the cuff. There is also an inner waist stay. It closes with a series of snaps and hooks at the waist and then just above and below. Hand finished throughout. Incredibly heavy as it is fully beaded top to bottom with glass beads but feels balanced when on and comfortable. There is perhaps the occasional bead missing but none that I can see. The belt hooks into place and the glue has loosened between the layers at one end of the belt causing the layers to separate slightly.
Sleeves: 25" approx.
Shoulders: no defined seam
The inner silk lining at the bust: 19" flat across from side seam to side seam (note that if you needed more room you could easily add fabric here without affecting the outer gown at all due to the sleeve cut)
Inner waist stay: 14" flat across from side seam to side seam (note removing the waist stay would give you at least another inch, you could also easily shorten the stay and move the snaps if you needed it made smaller)
Hips: approx to 21" flat across from side seam to side seam
Bodice: 17" from neck to waist
Skirt: 42" from waist to hem
Modern Sizing Equivalent: SML-MED
Item# DD2511
This garment has been professionally cleaned, pressed and is odor free. Thoroughly checked over before shipping, it will be ready to wear upon arrival.
George Stavropoulos was an amazing designer and to find his early work is already fabulous but to find a piece done at this level is just a treat. This gown is really museum worthy and is the third of three pastel color jewels to land in the shop recently. His clients, who included Elizabeth Taylor and opera singer Maria Calla, adored and cherished him for his ability to create stunning evening wear. His hallmark pieces were simple but with a masters attention to cut. He shunned overt ornamentation and instead focused on cut and fabric to convey the beauty of each piece. This is an amazing example of what he could create following that simple guideline. His pieces are almost always entirely hand made and most are made to demi-couture standards giving you incredible value for your money.
This stunning dress is an absolutely beautiful example of Stavropoulos' work and it is truly is incredible. I love how each of the chiffon gowns I have in the shop by him are all slightly different and have their own individual feel. The lightness and airiness created by the layers and layers of the pale lemon yellow chiffon is magical (in person the layers give it an even better hue - the photos don't quite capture the tone of the color the layering creates - it's even better in person). The fabric is cut on the bias and there are yards and yards used in the making of this dress. Incredibly, there are four full layers of silk used in the lining of the skirt alone and that is under the top exterior layer that also has yards and yards of fabric just in itself. The bodice of the under-dress is simply cut with a scooped neck on both the front and back. This peeks through the top layer for the prettiest effect. That inner dress is suspended from the shoulders by tiny straps and then the entire dress flows outwards in yard of silk to the floor. The back closes with a series of tightly spaced, silk covered buttons and a long separate tie adds drama to the neck or can be used to cinch in the waist. The inner dress is currently tacked at one shoulder and at one side to the exterior dress but you could if you wished undo those few stitches and wear these pieces separately as well. The top layer kind of wraps over itself at the front. Long and pretty sleeves that are made of a single layer of silk chiffon finish this lovely dress. It is so very pretty and fresh feeling - a girl will dance the entire night away in a dress like this. Excellent condition
Comprised of multiple layers of the yellow silk chiffon with a more opaque silk used for the inner most layer. Closes with a series of silk covered buttons down the back and buttons at each cuff. I see one teeny bit of darkening to the fabric on the back near the buttons (photoed). The volume of fabric efficiently hides this and I don't feel any of it detracts at all from this magnificent gown - it may come out with one more cleaning. Bias cut so there is some play in the listed measurements - we have listed to the max they will go. The color is a slightly brighter truer yellow then photoed. Like fresh lemon meringue pie color.
Sleeves: 21.5"
Slightly inset shoulders: 13.5"
Bust: 16-18" flat across from side seam to side seam
Waist: open
Hips: open
Length: 61" from neck to hem
Modern Sizing Equivalent: XS-MED
Item# DD2506
Reference Photo: Shot for creative purposes by Nicole Ormerod / Stylist: Nadia Pizzimenti / Hair & Makeup: Jodi Urichuk / models: Riley Young & Viktoria Light.
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 absolutely incredible and made to very high standards with lots of demi-couture level finishes. It really is a beautiful little dress and I suspect that at one point it had a designer label but that is lost to time and it now only has the label "Nazareth" which I suspect was a shop name and secondary label back in its day. It is really is a thing of beauty - it is made of three distinct fabrics - an inky black cotton velvet for the main body and then the skirt has applique of a black silk satin with silk cor applique over that. The cording follows the flower design appliqued all around the skirt and creates a rich textural experience that is quite beautiful and is all done by hand. To offset all that gorgeous handwork, the bodice is kept simple with a scooped neckline and no sleeves. It cinches in at the waist, curves over the hips and sweeps out to a pretty fullness. Underneath the skirt are attached inner layers of tulle, net and silk. Excellent condition.
Interlined in a silk taffeta and closes with a back painted metal zipper. The inner skirt has three layers, an inner silk lining and a layer of tulle net and pleated chiffon trimmed in lace. Mostly hand finished and all the applique work is by hand. Note the shoulders sit a little higher up but where tight on the mannequin so I styled it more off shoulder for the photos.
Bust: 19" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: 25" flat across from side seam to side seam
Length: 44" from shoulder strap to hem
Modern Sizing Equivalent: XS-SML
Item# E604
This garment has been professionally cleaned, pressed and is odor free. Thoroughly checked over before shipping, it will be ready to wear upon arrival.
Vogue said of this collection "Rosie Assoulin's buzzed-about NYFW debut placed her at the top of industry watch lists, and her striking Fall collection confirmed that the hype is real. This season, the up-and-coming designer continued to articulate her unique, modern take on occasion-wear, characterized by sculptural volumes and sophisticated separates that segue from day to evening. "The overall look is similar to Spring," said Assoulin at her presentation, "but we're pushing it forward and making the shapes a bit more graphic." Indeed, the latest lineup suggested that she is building a repertoire of signature silhouettes."
This wide leg and dramatic, sculptural feel off set with decisive cut out to show glimpses of skin are becoming one of those signature silhouettes. The jumpsuit is made of navy jersey that has enough weigh to it that the form and feel that she intends is kept. The bib top curves around the neck and around the back with cut out taken out of each side above the waist. The legs are massively wide and sculpted, creating her signature play on volume. This was look 4 on the fall 2014 presentation and this one has never been worn. It still has its original hang tags and price of $2995US.
Fully lined in a navy silk and closes at the neck and side with flat hook and eye and at the waist with a hidden set zipper. New with tags and unworn. Modern Size 10
Bust: 18.5" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: 23.5" flat across from side seam to side seam
Bodice: 17" from dress neck to waist
Skirt: 46.5" from waist to hem
Inseam: 31"
Modern Sizing Equivalent: MED-LRG
Item# DD2504
Reference Photo: Look 4 from Rosie Assoulin Fall 2014 RTW (vogue.com)
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 stunning and rare gown by one of the great couturiers is an absolute wonderful find and a true treasure. It is also incredibly beautiful and the fabric choice with its lush, liquid appearance only adds to that beauty. The color is a deep gold and build on his preference for the color yellow, taking it into evening for this gorgeous gown. It has the appearance of a wrap through the draped skirt that curves up to show a bit of leg. The offset crystal encrusted buttons that run down the bodice add to this illusion of it being a true wrap dress but it is all cleverly constructed to fit and sit properly on the body. The shoulders are strong but not yet padded as they would be in the forties and the silk velvet and excessive draping are hold-overs from the excess of the twenties. The sleeves are remarkable, each is full and voluminous, ending in great draping curves that are caught up in elastic around each wrist. You could easily see one of the Hollywood starlets gliding into a room wearing this gown!
Patou opened his couture house in 1919 and by 1925 had several locations across Europe that sold his Couture and RTW lines. This gown would be considered demi-couture. It has the boutique label but the additional numbered tag denoting it as a special order and was probably based on the Haute Couture collection but made with a combination of machine and hand finishes for the client. It may well have been a one-off. It is remarkable. Excellent condition with a small note below.
Unlined and closes under the buttons at the front with snaps, hook & eye and snaps below the waist and down the skirt. Some of these appear newer and were probably replaced at some point during its 80+ year history. There is a touch of darkening to the velvet here and there, mainly along the edges. A couple of tiny light spots across the top - supersize the bodice photo to see. The interior is finished by hand. Elastic at each cuff. Numbered tag 5010.
Note that the lighting in my studio is making the top portion appear darker - the entire dress is the same lighter liquid gold color in person. It's even better in person!
Sleeves: 28" approx.
Shoulders: no defined seam
Bust: to 19 flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 23" flat across from side seam to side seam
Bodice: approx 17" from dress neck to top side waist seam
Skirt: 43" from top side waist seam to longest point of hem
Modern Sizing Equivalent: SML-MED
Item# DD2494
Reference Photo: Amanda Lee Shirreffs. Click here to see this look on our blog Curated >
This garment has been professionally cleaned, pressed and is odor free. Thoroughly checked over before shipping, it will be ready to wear upon arrival.
Unlined and slips over the head to wear and has satin backed ties at the waist. Note that someone let the hem down to gain more length and there is a teeny bit of grubbiness along where the hem was. I have left it as the longer length works and I feel like it's fine to wear - you could put the hem back up or if you need less length hem it to just above and this would disappear altogether. There is one teeny pinhole at the front that gets lost in the fold once an and is stable and a small area of grubbiness under the arms and a couple areas on the front skirt. Priced accordingly. The size is variable because of the loose flowing cut and undefined seams. It is on a size 4ish mannequin but would also easily fit up to a size 8-10 and even larger is you are not too full through the shoulders and bust.
Sleeves: 22.5"
Slightly inset shoulders: 13.5"
Bust: to 21" flat across from side seam to side seam
Waist: open
Hips: open
Length: 59.5" from neck to hem
Modern Sizing Equivalent: XS-MED
Item# DD2493
Reference Photo: Amanda Lee Shirreffs. Click here to see this look on our blog Curated >
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 would have been designed and created under the eye of Yves himself and has the added distinction of coming directly from the daughter of the Haute Couture client who ordered it from the atlerier, so has not been on the market prior to this. The blouse is exquisite and of course it is entirely hand made as the parameters of Haute Couture define. The silk chiffon and silk used are of the finest grade and you can feel the difference at first touch. I love the little row of perfectly spaced, flat silk pleats that run over the blouse. Each is hadn pressed and comprised of folded silk with the layering of the silk creating the darker black stripes. Between each is a fine, thin ladder stitch that is secured down the center by a bead and sequin line. Truly exquisite and I cannot go on enough about the fine workmanship and sheer time that this would have taken to create. The body of the blouse is cut squares off and boxed and each sleeve has the same textile effect. It is an absolute work of art and a stunning example of Haute Couture while Yves was alive. Excellent condition
The body of the top is backed in a nude silk chiffon with the pleated silk and bead/sequin work attached. It closes down the back with a hand set zipper that extends beyond the hem in the traditional haute couture manner. Entirely hand done.
It is always a privilege to have true Haute Couture pieces pass through the shop. Haute Couture is the very pinnacle of the fashion experience and I would hazard to say that vintage versions are even a little more special. You also get a lot for your money in many ways with vintage versions as the cost of current Haute Couture has skyrocketed.
Shoulders: 13"Bust: 16.5" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Hips: 16" flat across from side seam to side seam
Length: 22" from neck to hem
Modern Sizing Equivalent: XS-SML
Item# S731
This garment has been professionally cleaned, pressed and is odor free. Thoroughly checked over before shipping, it will be ready to wear upon arrival.
Like the Mr Freedom skirt I listed recently, this little sailor suit has double provenance and importance. First it is by the iconic Mr. Freedom label, a shop in London opened by Tommy Roberts that featured both clothing and furniture that perfectly fit the pop inspired culture of the late sixties and early seventies. The pieces from this time period and this particular label have reached cult status in the vintage world and pieces from this label are exceedingly rare and hard to find. The boutique catered to the pop icons of that era and the Rolling Stones were repeat clients - and that brings us to the second part of this skirt's provenance as this was owned by Astrid Lundstrom who was Bill Wyman's common-law wife from 1967 till 1983. Bill was of course the bassist for the Stones from 1962 until 1993. This was acquired directly from Astrid and was worn and loved by her. This sexy play on the classic sailor suit is done in a red silk satin with two large applique details on the little jaunty back collar and green silk ribbon piping highlighting the lines of the jacket. The jacket is fantastic - it is fitted through the waist, is fitted over the hips and zips down the front. The shorts are daisy duke style and cut short, tight and cuffed. Insanely iconic and crazy sexy this is a once in a lifetime find. Excellent condition
Both pieces are unlined. The jacket closes at the front with a metal zipper and the shorts close with a zipper and buttons at the waist. Some tiny scuff/marks to the satin here and there consistent with light wear and natural aging of this type of fabric.
Jacket
Sleeves: 23"
Shoulders: 14"
Bust: 17" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 24.5" from neck to hem
Shorts
Waist: 12.5" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Length: 14" from waist to hem
Modern Sizing Equivalent: XS-SML
Item# DD2487
Reference Photo 1: At Mr Freedom Kensington, 1971 (Rex) / Reference Photo 2: Amanda Lee Shirreffs - see complete blog post on this look here / Reference Photo 3: Astrid Lundstrom & Bill Wyman.
This garment has been professionally cleaned, pressed and is odor free. Thoroughly checked over before shipping, it will be ready to wear upon arrival.
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This little embroidered and beaded silk jacket from the Chanel Couture Atelier is absolutely divine and a once in a lifetime find. In all of my years of having some of the finest pieces of vintage couture pass through my hands I can easily say that this is one of the most magical pieces that I have had. Haute Couture is the very pinnacle of the fashion experience and I would hazard to say that vintage versions are even a little more special then modern ones. This piece comes direct from the daughter of the original Haute Couture client so has not been on the market prior to this.
It is made from two layers of a fine silk chiffon - the inner layer is a soft pastel baby blue and the exterior a more silver hue. This is completely covered with embroidered flowers accented by silver glass tube beads and clusters of sequins, all of which would have been applied and created by hand by Lesage to the exact specifications of Chanel. The design itself is slightly raised and the use of the silver beads and sequins give the entire thing a very subtle glimmer in the light. The jacket is an evening version of her classic box jacket. It close only with a hook at the neck and the rest drapes perfectly into place. The edges are finished with panels of silver beads. It is entirely made by hand as Haute Couture dictates and the fabrics would have been made specifically for Chanel and this piece. A fine and rare example from this time period. It is truly a brilliant piece that when you see it in person you will be astounded at the level of craftsmanship and care put into the construction. A masterpiece. In excellent, museum quality condition.
Fully lined in a pale blue silk chiffon. Completely hand made. Closes at the neck with a hook & eye. Couture number 53531. There is a tiny break in the silk chiffon under the label - you can see it in the photo. I have left it as is since it seems stable.
Shoulders: 14'
Bust: 17" flat across the inner back from side seam to side seam
At bottom hem: 16" flat across the inner back from side seam to side seam
Length: 19" from neck to hem
Modern Sizing Equivalent: XS-SML
Item# S732
Reference Photos: (1) French Actress Claudine Auger at Chanel, 1970. Photo by Christian Simonpietri. / (2-4) Sylvia Kristel in Chanel Couture, 1976. Photos by Jean-Claude Deutsch.
Video reference: I have included the video I posted on my instagram account so you can better see the jacket and the details
This garment has been professionally cleaned, pressed and is odor free. Thoroughly checked over before shipping, it will be ready to wear upon arrival.
This is a very rare version of the snakeskin dress from the 1983 collection. Mugler did two version of this dress - the Haute Couture version with the two slashes and the pret-a-porter version with the single slash. It was produced as a version that married the two - keeping just a single slash and the sequins on the python print. This version is a deep green and is museum worthy. It is instantly recognizable as being a Mugler and very few exist. It is made of a stretch fabric printed in that spectacular snakeskin pattern. The fabric that hugs the body like a bandage dress to accent and highlight your every curve and move. The fabric was then completely covered in clear sequins to give the suggestion of liquid running over the scales and when you move the light catches the sequins and creates the most sensual and sexual effect. It was photoed for L'Officiel that year and I have been told it appeared in other publications as well but have not yet sourced those. On the rtw runway it was a more traditional snakeskin color (the video of it on the catwalk can be seen on my instagram). The neckline is high and cut on an angle that mimics the curve of the slashing cut out above the breast. The sleeves are long and simple and also cut on a curve. Its amazing and a piece of fashion history. Excellent condition
Unlined and made of a stretch fabric. Closes with back set zipper. Tagged a vintage 38 but check measurements
Sleeves: 26"
Shoulders: 15.5"
Bust: 16.5-19" flat across from side seam to side seam
Waist: 14-15.5" flat across from side seam to side seam
Hips: 17.5-19.5" flat across from side seam to side seam
Length: 58" from neck to hem
Modern Sizing Equivalent: SML-MED
Item# DD2481
Reference photos: (1-3) Thierry Mugler Runway S/S 1983. / (4) Thierry Mugler snake dress by Claus Wickrath for l'Officiel , 1983. / (5) Screengrab from Thierry Mugler S/S 1983 Runway Show. / (6) Tracee Ellis Ross at the BET Awards 2016 wearing this exact dress. / (7) SS 1983 Thierry Mugler Campaign. Photo by Laurence Sackman.
This garment has been professionally cleaned, pressed and is odor free. Thoroughly checked over before shipping, it will be ready to wear upon arrival.
If you are lucky enough to fit into this and need an over the top, dramatic gown for an event then you probably just squealed in delight to have found this. Feraud did Haute Couture from 1958-2002. From the research I have done, the more slanted script without any accent over the "e" give it a date that lands it between the mid-sixties and into the early 70s. He opened his first boutique in 1955 and by the 60s had a boutique in Paris that sold both his RTW and Couture label and his pret-a-porter line was carried all over the globe at high end shops. During the time period this is from he was known especially known for his graphic prints, showcased wonderfully here. Three prints are used varying in print and degrees of white on black. The fabric is a cotton - a genius and unexpected use of a fabric that would have been thought of as sportswear fabric at the time. The top is ruched with hand placed gathers over the strapless bodice that angles slightly offside and dips to an low asymmetrical V at the back. The waist nips in and then the elaborate skirts flare out to great fullness. Underneath are a stiffened netting and the hems of the two layers are lined with wide bands of horsehair net that keep the skirts full. Over the outer skirt is a huge and elaborate bow and panel that is stuffed with more netting for hold its full shape. It is quite wonderful and a true work of art. Excellent condition
Fully lined in a silk through the bodice that is hand placed. Boning and interior waist stay. It closes with a side, painted metal zipper. Hand finishes through out. The skirt is made of two layers - the outer skirt that is unlined and sits over an inner skirt that is part tulle and ends in the black and white fabric hem that peeps under the outer layer. The bow and swooping panels are filled with netting or tulle. Note that this was photoed on a size 2 mannequin and barely fit. It is a definite size 0-2
Bust: 14" flat across from side seam to side seam
Waist: 11.5" flat across from side seam to side seam
Hips: open
Length: 53.5" from top of dress to hem
Modern Sizing Equivalent: XS
Item# DD2479
This garment has been professionally cleaned, pressed and is odor free. Thoroughly checked over before shipping, it will be ready to wear upon arrival.
emanuel ungaro
Fall 1975 Emanuel Ungaro Haute Couture Silver Grey Lace & Sequin Top & Skirt Evening Set
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The Haute Couture tape hidden behind the label gives us the exact date on this Emanuel Ungaro skirt and jacket set. Ungaro recently passed away and that always makes you look at a designers work with a new appreciation. Ungaro launched his label in 1965 after stints at Balenciaga and Courrreges. He was a brilliant designer who was known for his of extravagant fabrics and flamboyance. This set comes from the original couture client and is a refined and elegant example of his work
The set is made of a beautiful embroidered hand made lace that has little silver sequins hand applied to it to highlight the floral parts of the design in the lace. When worn together you get the feel of a well cut evening suit. The jacket is unusual with its shorter sleeves. It is cut to skim over the body and it closes down the front. The neckline dips into a V and the edges are all finished with a banding of sequins applied side by side. The skirt is cut to skim over the hips and then widens out with a slight flare as it nears the hem. The fabric is very light in weight but it is still well constructed so feels amazing on. The lace is backed in a fine silk dyed that has been dyed to match the light pastel silver grey tone in the lace perfectly. No shortcut was taken in the construction and it is a stand out example of how refined his work could be. It is even better in person and the sequins give it a mother of pearl finish that feels almost metallic in its appearance. Excellent condition with one small condition note below.
The jacket and skirt are both fully lined in a hand set silk of very high quality. The jacket closes with hidden set silk covered snaps at the front. The skirt closes with a hand set, painted metal zipper and flat hook and eye at the back. There are some areas where the lace has darkened slightly here and there. I have attempted to capture it in the last two photo s after the label shot but it was very difficult. Finished to Haute Couture standards and entirely made by hand. Haute Couture tape label present under label #H598- 8(or3)-75
Top
Shoulders: no true defined seam
Bust: 18" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: 17.5" flat across from side seam to side seam
Length: 21" from neck to hem
Skirt
Waist: 12" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 27" from waist to hem
Modern Sizing Equivalent: XS-SML
Item# DD2478
This garment has been professionally cleaned, pressed and is odor free. Thoroughly checked over before shipping, it will be ready to wear upon arrival.
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The Spring/Summer 1963 Gernreich collection featured a variety of items made from a patchwork knit. The Metropolitan Museum holds a Maillot in their permanent archives and a jacket was featured in the 2011 exhibition "UNRAVEL Knitwear in Fashion" at the MOMU-Mode Museum in Antwerpen, Belgium. Here we have a third piece from that collection and it as as rare as the other two and probably deserves to be held in a museum as well. The set consists of a bra top, a long legged, fitted short and a fringe 'car wash' belt that you can wear over the shorts. The pieces are a riot of clashing colors and patterns. It is as if every mad design whim from Gernrich's mind landed in these pieces. Made of a wool nylon mix each piece has some stretch. The bra top simply ties into place and the shorts slip on. The pieces are made of literal patched together pieces of fabric. The belt adds tremendous movement as it swishes around the hip as you move. Gernreich was a brilliant innovator and master at knits and this set showcases that genius. The set is suitable for the collector though could be worn with care, full condition notes below.
All pieces are unlined. The top has a halter neck and ties at the back. The shorts slip on with elastic at the waist. The belt buttons along the waist and can be adjusted if needed. The suit has flaws - there is evidence of past moth damage throughout all pieces but primarily on the shorts. The damage to the top and belt are minimal. The pieces have been specially cleaned and treated. I have photoed the worst areas. Note the suit is sold as found and is best suited for the collector, though it could be worn if the damage does not bother you - all the areas seem sound and stable and having been cleaned will have displayed at their worst now.
Top
approx 15-16" across from side seam to side seam and approx 28" end to end, the ties strings extend 16" further on each side.
Shorts
Waist: 13-16" flat across from side seam to side seam
Hips: 17-19" flat across from side seam to side seam
Length: 20.5" from waist to hem
Inseam: 10"
Fringed Belt
approx 33-36" with buttons as they are presently set
Length of fringe: 11.5"
Modern Sizing Equivalent: SML-MED
Item# DD2474
Reference photos: (1-2) The Metropolitan Museum (3) from the exhibition "UNRAVEL Knitwear in Fashion" at the MOMU-Mode Museum in Antwerpen, Belgium
This garment has been professionally cleaned, pressed and is odor free. Thoroughly checked over before shipping, it will be ready to wear upon arrival.
Only one year before Beene had opened a retail shop on 5th Avenue and his business was booming. For the 1990 season his designs were sleek and body conscious and remain to this day one of the most copied of seasons. The focus was on curves - both the female form in the dress and the lines that made up the dresses. He played with a mix of fabrics and textures mixing lace, velvet, chiffon and sequins with abandon.This is a stunning example of this season and is a sensual mix of all those fabric and cut to perfection. The shoulder and tops of the arms are set with a lame velvet in inky black. The sheen of that fabric is then picked up with the heavy covering of glossy black sequins that make up the body and skirt of the dress. A nude backed black chiffon curves in a sweeping panel between these with a dotted net curving through to be the perfect finishing accent detail. This sweeps down and around the back. The effect is that of a bare back but you are completely covered. The dress is so interesting and so stunning. It is historically important as well - the twin of this dress is held at The Met Museum (photo references attached). Excellent condition.
The sequin portions are lined in a black silk satin and the semi-transparent parts are backed in a nude silk chiffon. It closes with a back hand set zipper. Hand finished.
Sleeves: 24" approx.
Shoulders: no defined seam
Bust: 17" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 37" from neck to hem
Modern Sizing Equivalent: SML-MED
Item# DD2470
Reference Photos: Geoffrey Beene F/W 1990-91. Dress held at the Metropolitain Museum of Art. / Spring 1990 Geoffrey Beene Ad in Details Magazine, March 1990.
This garment has been professionally cleaned, pressed and is odor free. Thoroughly checked over before shipping, it will be ready to wear upon arrival.