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.

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.

Hedi's tenure at Saint Laurent may not have lasted long but he certainly made an impact while there. His collections were a financial success and the collections he designed will be forever recognizable as being done under his direction. He did turn to the archives but the interpretations were solely his viewpoint and done with his signature street, rock and roll vibe. Here we have a play on that famous lace backed dress done by Yves for the 1970 Haute Couture collection. For his modern version he has made the dress a fitted mini with the lace panel sitting broad across the chest sot hat maximum cleavage is shown but you are still fully covered. A band of black leather circles the waist and acts like a built in corseted belt. The sleeves are long and skinny and each ends in a row of decorative, tightly spaced tuxedo feeling buttons - another play on the archives. The fabric of the dress is a bandage like jersey and is fitted. One of the sell outs everywhere this is an amazing and sexy little black dress.

Unlined and closes with a side zipper under the waist line and snaps above that. The buttons on the sleeves are decorative. Very. very light padding in each shoulder. Tagged a modern F36

Sleeves: 22.5"
Shoulders: 15"
Bust: 16.5" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 34.5" from center top to hem

Modern Sizing Equivalent: XS-SML

Item# DD2468

Reference photo: Marina Schiano in Yves Saint Laurent black dress, Fall/Winter 1970 haute couture collection, photographed by Jeanloup Sieff for Vogue Paris 1970

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 Haute Couture version of this suit recently came up at auction and it was very helpful to determine the date of this set (see the provided photo reference). This version would be considered demi-couture and special ordered based on the haute Couture runway version directly through Saks Fifth Avenue and once finished imported back into America. The hat was made in America by a specialist hat maker licensed to do so by Dior. It is remarkable to have the complete set consisting of a jacket, top, skirt, pant and hat along with the original leather belt that you can use on the various pieces. The suiting pieces are made form a grey wool. The jacket is long to the hip and has large flap pockets on the front. The skirt is [pencil style and the pants cut wide. I love the striped, lightweight wool blouse with its huge attached tie. All the pieces are backed in a bright green wool and the pant and skirt are both lined in green silk as well. The hat also is finished in green and no matter what combo the pieces are worn in, they all have that undeniable Dior chicness. Excellent condition with specific condition notes for each piece below.

Hat
Unlined and in a Saks hatbox. Grosgrain ribbon detailing at the brim. Black lining and inner grosgrain ribbon. Tagged Miss Alice and Saks Fifth Avenue. Inner Circumference: 21"

Shirt
Unlined with a button front and fabric covered snaps. Hand finishes and attached front bow tie. Each cuff buttons to close
Sleeves: 23.5"
Shoulders: 15"
Bust: 19.5" flat across from side seam to side seam
Waist: 18.5" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 23" from neck to hem

Skirt
Backed in green wool and an additional green silk lining. It closes with a zipper and flat hook and eye at the waist. Saks Fifth Avenue tag and hand finishes
Waist: 14" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 25" from waist to hem

Pants
Green silk lining. It closes with a front zipper and button at the waist. Saks Fifth Avenue tag and hand finishes. I see one small nip out of the exterior fabric on the back on one leg. Pockets on each hip.
Waist: 14.5" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 42.5" from waist to hem
Inseam: 30"

Jacket
Backed in green wool and an additional green silk lining through the sleeves. Each pocket is also backed in green wool. It closes with buttons down the front. Christian Dior for Saks Fifth Avenue tag and hand finishes. Extra buttons along an interior seam
Sleeves: 22.5"
Shoulders: 17"
Bust: 20" flat across from side seam to side seam
Waist: 18" flat across from side seam to side seam
Hips: 22.5" flat across from side seam to side seam
Length: 27.5" from neck to hem

Belt
Will fit 28" to 30". Normal wear no stamped logo

Modern Sizing Equivalent: MED-LRG

Item# DD2465

Reference Photos: (1)  Top: Grace Kelly at the Monte Carlo International Television Festival in 1973.   Bottom: Suit on display at the Grace Kelly 2016 Matsuya Ginza Exhibition in Tokyo.  /  (2-3) Charles A Whitaker Auctions

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 perhaps one of Zandra's most well documented pieces and examples are held in museums and private collections world wide. I have sold several of these in the past but this is the first all white one I have had and it is wonderful.

This rare and amazing, entirely hand painted, silk caftan gown is just wonderful. This version is a beautiful pale white silk with the hand painting done in a more opaque white. The bodice is cut loose and full and dips dramatically to plunge almost to the waist at the front and is embellished with pearl finished beads that run over the bodice of the dress. The waist is a wide gathered elastic band and below that, the skirt is full and cascades to the floor with a tremendous volume of fabric present. 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' '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. It would be suitabel for a wedding gown or to be worn for an event. Excellent, museum quality condition

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.

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."

Partially lined with a second layer of white silk chiffon through the bodice only and that continues as a second underlying skirt to the floor. The dress has an elastic waist and slips on to wear. Hand finished throughout and entirely hand painted. the loose cut will allow it to fit a variety of sizes. Tagged a vintage UK 10, US 8 but check actual measurements.

Shoulders: no defined seam
Sleeves: approx 35" to longest points
Bust: no trued defined side seams
Waist: 12-17" across
Hips: open
Bodice: 14" from shoulder to top center of elastic at the waist
Skirt: 46" from top center of elastic at the waist to hem

Modern Sizing Equivalent: XS-MED

Item# DD2464

Reference photos: Jane Goddard in Zandra Rhodes by David Bailey, Vogue UK, 1974. / 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.

Like the other Lacroix I have in the shop, here again we have an extraordinary dress from his Spring 1988 collection. It is quintessential Lacroix with the all the drama and extravagance that made the fashion press swoon. No matter how lovely this looks on the mannequin I cannot convey how it transforms on a real body and the endless details that are revealed when a real girl moves in this - like the black ruffle trim that edges the separate crinoline underskirt - when you sit or move this peeks out for a little unexpected sexiness. It is cut to leave the shoulders bare and cinch in the waist above the sculpted full skirt. It has the innocence of the fifties mixed with the drama of the eighties and the decadent details of the 1700s. It is impeccably constructed inside and out with seaming and buttons that hug the curves and highlight the bust. I love the bare shoulders and how he finished each with elastic so they hug and adjust to your frame. It is made from a cotton pique - an unusual choice for a couture piece and one that would have been extremely avant garde for the time period. It buttons down the front with large faceted glossy black buttons. The skirt is full and sits over a inner pouf crinoline. Striped silk ribbon dances over the skirt for the perfect contrasting detail. It is fantastic. Excellent condition and appears unworn.

In 1987 Christian Lacroix opened his Couture atelier and became the toast of all things fashion. His poufed skirts were the rage and came to define the era. His signature style was that of dramatic excess and a flamboyant, over-the-top look that was immediately copied and lusted after world-wide. These first few years were the height of all things Lacroix and even though his brand eventually shuttered due to an over-indulgence in licensing and diffusion lines, these early pieces represent the best of his genius.

Fully line in a hand set black silk and buttons down the front. It comes with its original crinoline underskirt that hooks into place. This inner skirt is made of a stiffened black nylon net edged in horsehair and with a black silk ruffle trim along the bottom. Tagged a size 38 but of course check the measurements below

Dress
Shoulders: the opening will adjust from 17" - approx 19" flat across
Bust: to 17" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Length: 33" from middle top to hem, if this had a proper shoulder seam it would be approx 35-36" in total length

Inner Skirt
Waist: 12" flat across from side seam to side seam
Hips: open
Length: 20" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2462

Reference Photos: (1-4) Spring 1988 Christian Lacroix Collection.  /  (5) Photo of guests celebrating Christian Lacroix's Couture Collection At The Pool Deligny In Paris, July 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.

Alice Pollock, Celia Birtwell and Ossie Clark are all intertwined. Alice and Celia founded the Quorum boutique in 1964 and Ossie designed for Quorum and Alice even while he was a student at the Royal College of Art. She began featuring Ossie's work in 1965 and he designed for the label until 1973. His designs can appear with the Pollock label, the Quorom label or under his own label and with the Quorum label attached as well. This is most certainly one of his - it is made from his signature moss crepe and this is a version of the "Harlequin" dress that resides in the collection of the FDIM. Stripes were a predominant detail in his early collections and here he uses them to create shape and flow. The collar is cut long and pointed and tops a V front bodice. The sleeves are very full and each has those same, delicious striping detail and are cut to billow out above long, buttoned black cuffs. Small gathers sit below each shoulder detail and then dress flows to the floor in a sweep of bias cut fabric. When the striped panels begin the skirt opens to tremendous fullness seen best when you move in the dress. It is fabulous and even better on. Excellent condition

Unlined and closes with a side set zipper. Each cuff buttons to close with fabric covered buttons and loops. Two of the buttons show some wear and the fabric is thinning/tearing along the button edges. There is an extra button inside. Teeny areas of very faint foxing along the hem but this does not show when on or deter and is only mentioned for accuracy. Tagged a UK vintage 12

Sleeves: 29" but come up when on of course
Shoulders: 16"
Bust: 18" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 56" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD2461

Reference Photo: Ossie Clark with print by Celia Birtwell Maxi Dress c. 1969 at the FIDM Museum Collection. (See more here) 

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 1987 Christian Lacroix opened his Couture atelier and became the toast of all things fashion. His poufed skirts were the rage and came to define the era. His signature style was that of dramatic excess and a flamboyant, over-the-top look that was immediately copied and lusted after world-wide. These first few years were the height of all things Lacroix and even though his brand eventually shuttered due to an over-indulgence in licensing and diffusion lines, these early pieces represent the best of his genius.

Here we have an extraordinary dress from his couture label that dates to late eighties. Here we see the quintessential Lacroix with the all the drama and extravagance that made the fashion press swoon. No matter how lovely this looks on the mannequin I cannot convey how it transforms on a real body and the endless details that are revealed when a real girl moves in this - like the black lace trim that edges the underskirt - when you sit or move this peeks out for a little unexpected sexiness. It is cut to push the bodice up and cinch in the waist. If Marie Antoinette wore a mini this is the dress she would have chosen. It is impeccably constructed inside and out and has a full built in inner foundation and built in multiple layered crinoline. The bodice is sculpted and is suspended by black silk grosgrain. Each strap ends in an dramatic little black bow. It is made from a cotton pique - an unusual choice for a couture piece and one that would have been extremely avant garde for the time period. I have seen versions of this with an attached sleeve but this one has removable sleeves - another touch of genius and each slides over the arm to sit at the shoulder in a dramatic pouf. It is fantastic. Excellent condition and appears unworn.

Fully line in a hand set silk through the boned bodice. The skirt is interlined in a silk organza and has an attached underskirt that hooks into place. The dress closes at the front with a hand set zipper. The inner skirt is made of a stiffened nylon net edged in horsehair and a trim of black lace along the bottom. Each sleeve has elastic so will fit a variety of sizes. Tagged a size 40 but of course check the measurements below

Bust: 18" flat across from side seam to side seam
Waist at inner crinoline: 12.5" flat across from side seam to side seam
Hips: open
Bodice: approx 16" from top of strap to highest point of waist seam
Skirt: 20.5" from highest point of waist seam to hem

Modern Sizing Equivalent: XS-SML

Item# DD2460

Reference Photos: Spring 1988 Christian Lacroix 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 the photo of this jacket caused a memory to be triggered it is probably because you saw the long, black version of this coat worn by Shalom Harlow at the 2009 Met Gala "Model as Muse". This version, has an equally prestigious pedigree as it was ordered and made by Bob Mackie for her to wear to the Academy Awards in 1988. It was carefully stored after that event and is now ready for its next chapter. While the full length version has a definite high drama factor, this length is far more versatile and the baby blue is absolutely exquisite and will suit most skin tones and act as a soft pop of color against most others. It is made from sculpted ice blue silk taffeta with the most dramatic and large puffed sleeves and shawl collar. The cut is open and generous so will fit all sizes and almost verges on a cape with sleeves. The ruffled edges are all lined in horsehair to give them volume and shape. It is absolutely wonderful in every aspect. Excellent condition.

Fully lined in the same silk with a open front that has no closures. Made to demi-couture standards. The open cut will allow it to fit almost any size.

Sleeves: approx 15" from the drop shoulder
Shoulders: 19.5"
Bust - Hips: Open
Length: 25" from inner seam at the neck to bottom

Modern Sizing Equivalent: OSFA

Item# S719

Reference Photo: Shalom Harlow wearing a long version of the Domino coat attending the "Model as Muse" Met Gala in 2009 where Hamish Bowles declared her to be best dressed for the evening. 

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 little number is quintessential Christian Dior during the Galliano years. He was a master at this bias cut full length slip dress and designed them in numerous variation. Here the pink "patchwork" pattern screened onto the silk combined with the ruching details and more structured bodice is quite beautiful. Galliano designed fantasy combined with historical references and during the nineties this bias cut pieces like this where highly coveted, as they still are now. The skirt flows to the floor in a sweep of beautifully bias cut silk. It has a gathered detail along the center that sits above an almost scandalous slit. It hugs the hip and curves up and over the waist. The bust is suspended from tiny silk straps with a full built in interior with built in cups. It is absolutely beautiful and feels very this season once again. Excellent condition

The dress is fully lined in silk crepe and the bust has interior built in underwired cups and small boning around the back. It closes with a metal and nylon zipper at the side. It closes with a row of tightly spaced silk covered buttons at the side. Tagged a US8. Bias cut

Bust: 15-16" flat across from side seam to side seam
Waist: 13-15" flat across from side seam to side seam
Hips: 17-20" flat across from side seam to side seam
Length: 63" from strap to hem (come up a touch when on due to the bias cut)

Modern Sizing Equivalent: XS-SML

Item# DD2457

Reference Photo: Katie Holmes in Dior at the Launch Of La D De Dior New Watch Of Fine Jewelry Designer Victoire De Castellane, 2003.

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 luxurious, rich black velvet maxi dress has a stunning long and slim cut accented by a wonderful tiered skirt and side plunging neckline. This gown by Lanvin is stunning in its simplicity and the richness of the velvet adds to that. I am so pleased to see velvet being used more and more frequently on the runways now as it really opens the door for vintage versions like this once again. The dress flows to the floor in a widening fall of velvet ruffles. The shoulders are squared off and the cut is kept simple but with high drama details that really add up to create a beautiful piece. The neck plunges with a slightly off sided angle - this done to follow the gathered panel that sweeps across the waist and upper hip. This is gathered all along one side with a row of cord covered square buttons that add a nice matte contrast again the texture of the velvet. The skirt is stunning with curved and draped tiers of fabric that wrap around the skirt and really create movement and detail. Lined in silk so feels amazing on and finished with lots of handwork and high quality construction. Excellent condition

Fully lined in black silk and it closes with an interior painted metal zipper on the opposite side of the buttons and then the buttons as you see. Small zippers at each wrist. A combination of hand and machine finishes

Sleeves: 24"
Shoulders: 15"
Bust: to 18" flat across from side seam to side seam
Waist: 13-14" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 60" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD2451

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 amazing gown was look 46 from the Spring 2004 runway by John Galliano for Christian Dior. It is entirely cut on the bias gown that feels instantly identifiable as a Galliano with its 1930s inspired cut and masterful draping - all Galliano signatures while at Dior. Regardless of his behavior  a few years back, he was undeniably a pivotal designer in our more recent fashion history. He was lauded with awards and honors based on his ability to cut a dress including the British Designer of the Year in 1987, 1994 and 1995 and has recently seen great success once again at the helm of Maison Margiela. In 1997, he shared the British Designer of the Year award with Alexander McQueen, his successor at Givenchy. His years at Dior are still referenced for their high theatricality and drama. In this gown we see some of the best of that and it is truly a spectacular creation. It certainly shows his ability to cut a bias dress and the intricate draping of this gown shows the hand of a master.  All of the panels are entirely cut on the bias in an almost spiral fashion that wrap and curve around the body, leaving parts exposed and parts covered to give the feeling that you could just step out of he dress at any moment. Curved panels of fabric create his signature shaping to the body. The bodice plunges at the front and seems suspended but only a tiny strap at the back leaving the entire back bare. The silk curves around the hips with a trailing bit of silk that flows down the front in an dramatic train with a high slit behind it. The silk itself is a vivid pink with a colorful floral print scattered over its surface. The final result is sexual and tropical and fabulous. Excellent, appears unworn condition.

In her review of the collection for Vogue, Sarah Mower said: "John Galliano didn't go on one of his extensive research trips to come up with the Christian Dior concept for spring; perhaps he just popped across Paris to an exhibition of Marlene Dietrich's clothes that ran this summer. "It was Marlene," explained the designer. "But then I thought, who would she be today? Marianne Faithfull, Janis Joplin, Courtney Love, Patti Smith!" Marlene was clearly behind his opening series of curvy gunmetal satin suits with a forties air; the fox-fur jackets that swanked through the show; and the beautiful bias-cut dresses, in silver or gold lamé tissue, that starred towards the end. In between, Galliano mixed up her influence with tattoo-print body stockings, suits with pieces of corsets and garters dangling from the skirt and jacket hems, and some hip-hop–influenced silk sportswear. There were enough items in the melee to satisfy the faithful: his signature print chiffon dresses, some ultra-sexy swimsuits, and the new twist on the Dior bag (it comes with a fox stole attached to the strap). But anyone looking for Galliano's next great leap forward will have to wait till next season."

The main body and skirt of the dress is fully lined in a pink chiffon and it closes at the side with a hidden set zipper. Note that is is intricately draped and sits on the body just so - it feels very confusing at first so please reference the photos carefully once received to figure out how it goes on. Tagged a US 6, French 38 but the bias cut will allow for a range of sizes. It was extremely hard to measure but seems to be pretty true to size.

Waist: 15" flat across from side seam to side seam - note that it seems to sit low - more on the hip and is not meant to be tightly fitted at the actual waist
Hips: to 19" flat across from side seam to side seam
Length: approx 60" from top of bodice to hem with the panel of fabric at the front extending another 19"

Modern Sizing Equivalent: SML-MED

Item# DD2441

Reference Photo: Christian Dior Spring 2004, Look 46 (Model: Diana Gärtner)

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 coat is just spectacular - the suede used is so light and butter sift that you could almost get away with wearing this as a dress. It certainly has the lines and styling of one. It is a wrap coat and I love that the ties are a contrasting cotton tape ribbon done in a black to match the suede. The ties are very long so really play off the luxury of the suede. Each cuff has that same touch os contrast - he chose a extra long knit ribbing for each of the cuffs. The collar is cut low and deep to the waist. The jacket is fitted and cinches in at the waist by the ties. The lower portion is just gorgeous with its ruffled and curved hem that really flounces and adds a beautiful detail. It is hard to see in the photos but all the suede panels are stitched together with a silver metal thread that give it a pretty detailing as you see it up close. It was a little too bog on my mannequin and will fit even better on the proper sized girl. Really exceptional and the photos don't do it justice. Excellent condition

Fully lined in a black silky rayon and ties to close at the front. Ribbed knit cuffs are 8" long. There was a little hole in one that I have had a stitch put into to secure. You don't see this once on because of the way they sit and slightly bunch up. Tagged a 44

Sleeves: 28"
Shoulders: 18"
Bust: 21" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: 22" flat across from side seam to side seam
Bodice: 18" from neck to waist
Skirt: 32.5" from waist to hem

Modern Sizing Equivalent: MED-LRG

Item# C406

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

These Rabanne pieces from the late 80s were a spring board from the earlier chain mail examples and were heavily sought after and collected - then and now. It is very rare to find a full set and I am very pleased to have this one as it is really exceptional. It is completely made from a silver metal mesh that is very heavy and feels spectacular once on the body. The metal is very cool at first but once your body heat warms it it stays at your body temperature and feels quite sensual on. This set is insanely sexy too. The skirt is a simple pencil cut above the knee. It snaps to close at the top of the side of each waist and the two sides are held together by a rows of chain links so you get just a hint of skin peeking through. The top is also cut square off and simple but once on it drapes over your curves. It has a inverted deep V running down the front with little chains of mesh looping across. At the back is a large keyhole between the clasps. The mesh creates an almost bias cut effect so the sizing will work on a variety of body types and what you choose to wear under it, or not, will dramatically change the feel of the piece. This was made to go dancing. Exceptional. Excellent, museum quality condition

The skirt has hidden snaps on each side of the waist and the top slips over the head and has clasps running down the back. Each piece has a metal Paco Rabanne tag attached to the loop. The top is slightly more oxidized then the skirt - it was probably worn a little more. There is one spot along near the base of the right armhole where it looks like there may have been a repair - and the mesh is set in a little more then the other side - I have no way of telling if this was always like this so mentioning for accuracy. This is only apparent when it is spread out and lying flat and in no way affects it when on.

Top
Shoulders: No defined seams
Bust-Waist: 17.5" flat across from side seam to side seam
Bodice: 19" from top of bodice to waist

Skirt
Waist: 14" flat across from side seam to side seam
Hips: to 18.5" flat across from side seam to side seam
Skirt: 17" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2435

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 coat is from the 1970s collection and its twin was photoed on Francois Hardy. It is made of a jet black wool and is cit to be fitted and sleek on the upper body and flare out dramatically through the lower portion. It originally had a removeable caplet as you see in the photos but unfortunately the capelet part of the coat was improperly stored and could not be saved. There is a series of snaps under the collar where that capelet would have snapped into place and I have left them there in case the new owner wishes to have the cape re-created. You could easily have that done and I have priced the coat with this in mind. Of course it is infinitely wearable just as it is and if you decide you love it as is you can just snip off the snaps and love it - I am sure that the majority of time this was exactly as it was worn by most anyway. I love the high contrast shiny buttons he used during this period - that little bit of shine contrasts perfectly against the wool. The cut is impeccable and it is a great piece of fashion history. Excellent condition.

Fully lined in a black silk and buttons to the waist to close. Hidden pockets along the side seams. A couple of tiny nips out of the fabric along the crease of the collar as seen in the label photo. One half of the snaps for the removeable capelet still in place under the collar that could be removed if you wish or used as a template to recreate the cape. Tagged a vintage YSL 38

Sleeves: 23"
Shoulders: 15"
Bust: 17" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Hips: 25" flat across from side seam to side seam
Bodice: 16.5" from neck to waist
Skirt: 36" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# C405

Reference Photo: Francoise Hardy wearing a coachman's coat with small cape by Yves Saint Laurent for Vogue, August 1st, 1970

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

The fall 1994 collection from Todd Oldham featured a bevy of supermodels and gorgeous gowns, including the twin of this beautiful velvet piece. The vibrant colors cascade over the body of the dress in a stunning array of colors. It is absolutely wonderful and is still as relevant now as it was then. Supermodel long, it is made of a rich velvet that is cut to follow and highlight your every curve while elongating the body. The design was kept simple and sleek, the hallmark of the nineties, which allows that amazing tie dye banding in all those colors to take center stage. The custom, hand done dying of the velvet sits in horizontal bands across the dress from top to bottom. Each of the color's edges slightly blend into the next for a touch of softness. The neckline and back are scooped with ties at the shoulder giving you control over how low you wish it to sit. The waist nips in just a touch and then the skirt cascades to the floor. I love that the inside is lined in silk that has a second and different tie dye feeling print. When you move you see this shocking contrasting print flash around the leg because of that high slit up the side. A superb and rare Oldham gown that would only be one of only a couple produced. Excellent condition.

Fully lined in a custom tie dye silk and closes with a back zipper. There is very small faint wear to the velvet around the zipper edges and the zipper sits a little bumpy, this is very minor but mentioned for accuracy. The slit is high - a full 31" up from the hem - you could of course close it if you want more coverage.

Bust: 17" flat across the back from side seam to side seam
Waist: 15" flat across the back from side seam to side seam
Hips: 20" flat across the back from side seam to side seam
Total length: 60" from top of the shoulder to the he

Modern Sizing equivalent: SML-MED

Item# DD723

Reference Photos: Fall 1994 Todd Oldham Runway.

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

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 silk organza was his fabric of choce for both its delicacy and lightness but 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 twin of this gown and you can see how wonderfully it sits when on a real body.

This gown is stunning. Made of a deeply hued peach organza. The construction is amazing - the ruffles are overpalled 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 (I have lifted a ruffle and taken a photo for you so that you can see the curved seams). 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 each shoulder is held up by tiny silk straps. 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. Has original tags and has never been worn. Excellent condition

The innermost lining is a fine vivid coral tissue silk. The ruffles are attached to the dress overlaying that layer and both the ruffles and that layer are made of a peach silk organza. Bias cut and slips over the head to wear with no closures. All original tags. Hand finished. The Bias cut allows for a wide variety of sizes as it drapes and falls into place once on

Bust: 16-20" flat across from side seam to side seam
Waist: 14-18" flat across from side seam to side seam
Hips: 16-21" flat across from side seam to side seam
Length: 60" from shoulder to hem

Modern Sizing Equivalent: XS-MED

Item# DD2432

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

I think the skirt might be older, maybe 1950s and the top is an unlabeled piece of Dior. It’s very hard to tell with couture and the women could have had the skirt made at the same time. They go very well together and they were stored together from the estate I purchased them from so I have decided to keep them together. The woman’s estate was chock full of Dior, Valentino and other couture designers. Both pieces are amazing examples of hand made couture of the highest quality.

The top is a beautifully constructed bustier made of layers of silk and boning. The pattern on it combines large silver dots and a wide belt that is actually a part of the top and made out of sequins to give the illusion of a belt. Each dot is formed by hand applying a cluster of silver sequin that are strung along silver metallic thread. Each sequin is then topped with a little clear bead. The belt is made from tightly spaced rows of white sequins and silver glass tube beads that wrap around the waist to the front and then extend out into the belt end through a beaded buckle. The inner construction is marvellous. It is all lined and formed to sit perfectly on the body. Under the sequinned belt the inner fabric extends down so that it can be tucked into the skirt in the proper couture manner of construction. The skirt is made entirely of a fine lightweight silk with a honeycomb pattern woven through it. In person it is more of a white then how it photoed. It has a defined waist that buttons at the front and the band is set to dip and curve under the buttons. The main portion of the skirt is set into the waist  with soft gathers all the way around to give it the wonderful fullness that you see. It has a built in inner crinoline and the shape and fullness that you see is from that. You could add an additional crinoline under it and make it even fuller.  It has a very wide deep hem. Excellent condition with a note to review below for the bustier

The bustier has a full interior boned corset. The exterior layer is silk with the sequins and beads hand applied. The interior corset and the exterior layer each close with a hidden & hand set painted metal zipper. Interior waist stay with hook and eye closure. There is some fabric loss and sequin loss on each side under the arm area. Please see the photos after the inner tag and inner seam detail shots. The skirt closes at the front with silk covered buttons at the waist and is lined with silk organza. 

Bustier
Bust: 17" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Length: 11.5" from top to hem

Skirt
Waist: 13.5" flat across from side seam to side seam
Hips: open
Length: 35.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# E596

Reference photo: Spring 1983 Christian Dior Haute Couture.

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

A whisper of pale pink silk chiffon makes up the base of this beautiful dress by the great American designer, Halston. The silk is cut on the bias and then covered in pink and iridescent cream sequins so the entire dress shimmers in the lights and seems alive. Halston had the fabric for these dresses hand made in India who were doing some of the best sequinned silks in the world at the time with each sequin painstakingly sewn into place by hand. The designs of the sequins is quite dense and swirls and curves over the surface of the dress. Between the sequins designs are little hand sewn beads - the same beads that ede the collar and cuffs. That effect once on and you move is just amazing. It slips on and falls into place in a simple and long sheath that is cut slim through the body and skirt and has long sleeves to you are entirely covered - yet the cling and movement of the fabric is still so very sensual - a balance that Halston excelled at. The cut and construction are what one would expect from one of the most eminent American designers. Excellent overall condition with the notes below.

Fully lined in a pale pink tissue silk. It slips on to wear and hooks to close at the back with hook & eye that leave glimpses of skin between. Hand applied sequins and beads and hand finishes. There is a elastic that runs through the waist that is the same width as the rest of the dress. There are a tiny amount of missing sequins and beads here and there but they can easily be replaced by stealing some from under the hems. Across each shoulder is a light dusting of fading - I have photoed each from above when on and looked at from normal angles it really presents well due to the thousands of sequins on the fabric and iridescent quality. Note that there is no overall yellow tinge to the dress - if you see any anywhere that is a lighting issue.  I have priced it accordingly.

Sleeves: 22.5"
Shoulders: 15.5"
Bust: 18.5" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Bodice: 18" from neck to waist
Skirt: 41" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2412

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

This is one of the most documented dresses of the Spring Summer 1978 Yves Saint Laurent Rive Gauche collection and though I have seen black and white versions this is the only color version I have seen and it is spectacular. This collection was photoed extensively and celebrated the American woman. Nods to the forties are seen mixed with elements from his previous "Opium" collections and indeed this dress seems to be an incredible mix of the 40s, a cheongsam and the Yves particular brand of the seventies all mixed together by the genius that was Yves. Made of a black silk crepe with incredible pops of color in red, blue and white in the clusters of butterflies that flit over the entire surface. The dress is cut long and lean with a high slit up one leg. The collar is high and pointed with a butted and loop neckline so that even when closed one gets a glimpse of skin through the opening. Each sleeve is set from a dropped shoulder and cut wide and straight. It comes with its original tie belt that is cut extra extra long, allowing the wearer to wrap and twist it in place to define and create shape. It is amazing. Excellent, museum quality condition.

Fully interline in a black silky rayon and slip on the wear with button and loop closure at the neck. Original tie belt in a matching fabric. Tagged a vintage YSL 34 but the cut will allow for a bit of variety on size.

Dropped shoulders: 16.5"
Bust: 16.5" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: 17.5" flat across from side seam to side seam
Length: 47" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD2393

Reference Photos: (1) unknown source  /   (2) Photo by Francois Lamy for Vogue Italia, 1978  /  (3) Photo by Albert Watson, Vogue US January 1978.  /  (4) Spring 1978 Yves Saint Laurent Runway.

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

This dress feels like it could have just stepped off the runway today with the recent influx of sheer cutouts and designs made to show off everything. I can't even imagine the impact this would have made in the eighties or the girl brave enough to wear it back then. It is made of a black stretch velvet - the fabric choice adding to the sensuality of the dress - and the body of the dress skims and highlights a girls curves but feels comfortable and sexy on. The bodice is a mix of that same inky black velvet and a black net. The velvet curves up and is appliqued over the net in an almost breast plate form leaving large expanses of skin covered only by the net. At the front the breasts are barely covered but the fabric is placed and the dress shaped that a "nip slip" is almost impossible - but it gives the illusion that it could happen at any moment. It is shocking and sexy and amazing. A rare piece indeed. Excellent condition.

The skirt is fully lined in a black tissue silk and the bodice unlined. It closes with a hidden set nylon and metal zipper at the back and zippers are set into each cuff.

Sleeves: 24" approx.
Shoulders: no defined seam
Bust: 16.5" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 37" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD2388

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

A similar gown from the Haute Couture collection of 1953-54 is held at The Met and we have included the photos below. You can see the similarity on line and cut. This version is perhaps slightly less dramatic in its fullness and skirting but equals that gown with its customized, hand painted fabric with its extensive sequin work. Just before listing this I had the great pleasure of having the Assistant Director from the Dior archives in Paris visit my studio and this particular gown was of note for all. This dress would have been custom ordered and based on the Haute Couture collection but to the clients specifications. Dior was quite brilliant on setting this system up for clients outside of Europe. It was a slightly less expensive way to buy, though they were still quite costly, but "clients were saved the cost of a trip to Paris, and the cost of import tariffs on haute couture". The Dior archives call this "semi-couture"

The 1953 collection was named ‘Ligne Tulipe’ and those lined carried through to fall as well. The dresses and gown were based on the upside down silhouette of the tulip, fitted bodices representing the stem, curves down into a tiny waist line and then blossoms out in a soft, full skirt. It is crafted from an unusual hand painted silver fabric with a raised and slightly "puffed" pale buttercream floral design worked directly into the fabric. The entire front of the gown is then covered by hand, with tiny iridescent sequins so the entire gown glitters and gleams in the light. The fabric alone is it is a testament to the workmanship of this period. It would have also been costly, placing this gown near the price point of haute couture. The bodice is fitted with an angled inset into the waistline and horizontal fabric detail running across and emphasizing the bodice. Beneath this simple exterior hides interior boning and wire. Beneath this, the skirt opens out beautifully with the fullness weighted to the back and sides and with precisely pleated detailing running down each hip. In person it is even more wonderful as the camera is incapable of truly capturing the richness of the fabric. An extraordinary find. In excellent, museum quality condition.

Fully lined in a yellow silk and closes at the back with a painted metal zipper. The interior bodice is boned and wired for support. There is some watermarks to the interior bottom hem but this only appears on the interior - the exterior fabric is unblemished. Interior hip padding. Primarily done by hand with some machine stitched interior seams to the inner lining. Note that it is photoed on a size 2-4 dress form and would not close at the back. It will best fit a size 0-2

Bust: 16" flat across from side seam to side seam
Waist: 11" flat across from side seam to side seam
Hips: open
Bodice: 8" from top of bodice to waist
Skirt: 39" from waist to front hem, 42" at the back

Modern Sizing Equivalent: XS

Item# DD2385

Photo credit: The Metropolitan Museum; quotes: FIDM museum notes

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

Velvet Pucci's are slightly harder to come by but when I do find a great one, I am always a little floored by them - they are just that beautiful. The fabric choice seems to make the colors richer and lusher, probably why Emilio chose it as an ongoing option to display his beautiful custom prints on. This one is absolutely wonderful with its fantastic palette of a vivid pink mixed with geometric swirls done in pops of other colors. I always feel that the pieces and designs that he did in pinks and purples are the most coveted and the ones people instantly recognize as being Pucci. They really end up becoming little design statements on their own right and it is akin to wearing art as each brilliant design hailed straight from the creative genius of Emilio. The dress is cut with a nod to the a caftan with a long, column cut through the body that gently widens as it nears the floor. The neck is cut high with a neat, rounded collar. I love the sleeves and how each is cut wide and has the contrasting print running down the outer edges. It has both its original Emilio Pucci label and the fabric is signed throughout. Excellent condition

The dress is fully lined in an off-white tissue silk and closes with a back painted metal zipper. Hand finished

Sleeves: 19.5"
Shoulders: 15"
Bust: 17.5" flat across from side seam to side seam
Waist: 16.5" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 56.5" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD2380

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 House of Givenchy was founded in 1952 by Hubert de Givenchy, the focus of the brand during his years as creative director was classic and simple, pure and clutter free (no surprise that his greatest admirer was Audrey Hepburn). Here we have an extraordinary example of his early Haute Couture work and it is a rare find indeed. The bodice of this dress is scooped in low wide curve on both the front and back of the dress and the straps set slightly wide on the shoulder - a Givenchy trademark. The skirt is gathered in gentle soft pleats into the waist for a slight amount of fullness. Every stitch is a testament to couture and the dress is finished to an exquisite degree. The fabrics are beautiful - the skirt is a heavy silk satin so the shape is held wonderfully. The bodice is Lesage beaded and sequinned with hand appliqued, rich red silk velvet drops that are each hand-edged in tube beads. More beads and sequins are hand applied in and around these to cover the bodice for a stunning and decadent effect. Early Hubert de Givenchy numbered pieces are extremely rare and this dress is an absolute treasure. Presents as excellent condition

I have dated this as being from the 1962 collection as the lines are almost identical to the dress that Audrey Hepburn was photographed in while standing between Jack Lemmon and William Holden in the boat “Bateau Mouche” on the Seine after a press conference for the publicity of her movie “Paris When It Sizzles”. Paris (France), July 13, 1962. Audrey was wearing a Givenchy Haute Couture dress in this photo and it is identical to this one in terms of the cut.

Fully lined in a fine black tissue silk. It closes with a hand set side zipper that has snaps to cover the zipper from the waist down. Beautiful couture construction - the skirt has a fine ribbon finish to the inside edges and it is self lined in a layer of silk organza and a backing between the exterior fabric and the organza. An inner silk skirt sits under that. Measurements given are of the inner skirt. Numbered tag underneath with couture number "47992". Note that there are some fine vertical slits in the skirt. I have photoed the main one so you can see what I mean. I count eight that are mainly hidden in the folds with two being along the skirt hem. They seem stable and did not get bigger when dry cleaned. I chose to not have anything done to them since it the dress is entirely original. It could easily be worn as is and one would never notice these small flaws. It has been priced taking this into account.

Bust: 16" flat across from side seam to side seam
Waist: 11.5" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam the inner skirt, 20" on the outer
Bodice: 15" from top of bodice to waist
Skirt: 25" from waist to hem

Modern Sizing Equivalent: XS

Item# DD1620

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 beautiful silk chiffon dress is absolutely stunning. It is also insanely sexy and beautifully made as well. The work that would have gone into piecing this together with that weightless and fine silk chiffon is mind boggling. It is completely cut on the bias so once on, it simply drapes into place and slides over the body to define your curves but not in a tight or overtly fitted kind of way. A double layer of that silk floats over the body and cascades to the floor from the tiny straps that wrap around the neck. The neckline is a high and pointed and this combined with the bands of silk chiffon that are set in vertical rows from neck to hem add to the illusion of height and leanness. There is one ruffle that runs down the middle and one at each side with all three converging at the top point. It has a very goddess feel and what is truly amazing it that it literally weighs ounces. So once on you feel like the silk is just floating around and over you and it is almost like wearing nothing at all. It is truly beautiful. Excellent, appears unworn condition

Fully lined in a second layer of the same, fine red silk chiffon as the exterior layer. It closes with a hidden back zipper and the halter ties at the very back of the neck. Hand finished and has a hand numbered label. The color is absolutely fantastic - that perfect clear red that flatters most skin tones. It is cut on the bias so will come up some when actually on the body as bias cut dresses do. It will drape to fit and the fabric does have some give due to the bias cut

Bust: 15-17" flat across from side seam to side seam
Waist: 13-15" flat across from side seam to side seam
Hips: to 19-20" max flat across from side seam to side seam
Length: 62" from top of shoulder to front hem

Modern Sizing equivalent: XS-MED

Item# DD938

Photographed for creative purposes by Ted Belton, Stylist: Amanda Lee Shirreffs, Hair & Makeup: Erin Heather, Model: Karis.

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

This suit really shows the quality of the fabrics that Chanel uses and I would hazard to say that the vintage ones like this are even better then the newer pieces. This suit is a classic done on a nubby black and white boucle. Each strand used to make up the weave of the boucle is thick so really gives the fabric a wonderful finish. I love how the weave has been worked so that the pattern feels very graphic while still retaining that classic Chanel feel. The skirt is cut straight and to mid-length and wraps over itself leaving a slit where the leg will flash when you walk or sit. The jacket is the classic long Chanel box cut done to just past hip length. This is the classic for pocket  jacket and each pockets is adorned with a looping cord edge. That same finish runs around the collar and down the front and around the hem of the jacket and then down the skirt as well to tie it all together. Inside is that signature chain weighting the interior hem so the jacket always sits perfect. Excellent condition

Both pieces are fully lined in a high quality, fine black silk. The skirt closes with a flat hook at the waist and a zipper. The jacket has no closures. Chain weighted hem. All the pockets are fully functional and silk lined. Tagged a vintage Chanel 42. Hand finished

Jacket
Sleeves: 22"
Shoulders: no true defined seam
Bust: 20.5" flat across from side seam to side seam
Waist: 19.5" flat across from side seam to side seam
Hips: 21" flat across from side seam to side seam
Length: 24" from neck to hem

Skirt
Waist: 14" flat across from side seam to side seam
Hips: 20.5" flat across from side seam to side seam
Length: 30" from waist to hem

Modern Sizing Equivalent: MED-LRG

Item# DD2375

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

Jacque Heim opened his couture house in 1930 and by 1936 had added the "Heim Jeunes Filles" line to the atelier - a line for the daughters of his clients and younger women who were not quite ready or able to buy couture. The pieces were made in the atelier alongside the Haute Couture and were very well made. Here we have a wonderful wool coat in a deep olive that has fantastic lines. It is cut with a rounded shoulder and straight wide cut sleeves. The wide straight cut is carried through the body of the coat and I love the double row of large buttons that run down the front and give it a touch a military feel. It is those fabulously cut pockets that are the real star of the show though. Each sit on the hip and are curved and slightly poufed out from the body of the coat. They are stunning and it is this little couture touch of high glamour that instantly lets you know that a true masters hand was at play in the design of this coat. Excellent condition.

Fully lined in an early rust colored silky rayon and the lining is hand set. It buttons down the front as shown.

Sleeves: 19"
Shoulders: 16.5"
Bust: 20.5" flat across from side seam to side seam
Waist: 20.5" flat across from side seam to side seam
Hips: 21" flat across from side seam to side seam
Length: 39" from neck to hem

Modern Sizing Equivalent: MED-LRG

Item# C401

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 little black knit dress from the 2008A collection that Karl Lagerfeld designed for Chanel will quickly become one of your favorite pieces. It is the kind of dress that works on its own, layered under other pieces and can easily transition from day to evening in a flash. And it is immensely flattering in as well. It is seriously fabulous and quite sexy and I hope that girl that decides to make it hers truly will love and cherish it. Once on the body you can see the master draping  and cutting techniques Karl has employed in this deceptively simple piece. It is made from a multi textured knit that has belies an inner stretch that will act almost like a "bandage" knit and light shaper garment. That being said it still has a light and fluid draping on the body so is not impossible to wear. A chevron ribbing covers the bodice and upper hip while the waist is defined by a thicker ribbed knit. The skirt has a simple fine waffle weave texture.  I love how the top is cut to slightly drape and sit just off the shoulder and leaves the bodice with a more skimming over the body feel rather then being skin tight. It is very sexy. The rest of the dress is cut to hug and define your curves. Just a really extraordinary piece by one of the great designers. Excellent condition.

Unlined and slips on to wear. Tagged a 42 and marked collection 08A. The fabric does have stretch to fit. This allows for a broader range of sizes

Bust: 17.5-19" flat across from side seam to side seam
Waist: 12.5-15" flat across from side seam to side seam
Hips: 16.5-20" flat across from side seam to side seam
Bodice: 17" from shoulder to waist + 3.5" waistband. Note the top does drape a bit when on
Skirt: 24" from bottom of the waistband to hem

Modern Sizing Equivalent: SML-LRG

Item# DD2372

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

Karl Lagerfeld is the master of cut and this silk taffeta take on the classic trench shows it. It is made of silk taffeta and lined in  fine black silk as well. This makes it very light weight and easy to wear. The body of the coat is classic trench but Karl has added an amazing waterfall of silk tulle to the hem and each cuff taking it form classic to high French drama. This bold design makes it an easy piece to transition from day to evening. It has the sleek and simple lines and perfect construction techniques that one expects from Chanel. Bits of glitz adorn it at every turn from the rhinestone encrusted front buttons to the rhinestones and double C logo on each strap details circling each cuff. The black patent belt that come with it allows you to really cinch it in to add shape and this is also adorns with more glittering crystals. It is timeless style meets high couture glamour. Excellent condition.

Fully lined in black silk and buttons down the front to close. A pocket on each hip and original belt. Tagged a 42 and from the 06A collection.

Sleeves: 28.5" approx.
Shoulders: no defined seam
Bust: 21" flat across from side seam to side seam
Waist: 21" flat across from side seam to side seam
Hips: 21.5" flat across from side seam to side seam
Length: 50.5" from neck to hem

Modern Sizing Equivalent: MED-LRG

Item# C399

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 dress is amazing and a classic Yves Saint Laurent cut and silhouette from this time period. It is entirely done by hand and the silk is of the highest possible grade. It feels stupendous on. The top is loose fitting and the short cut sleeves are slightly voluminous above their cuffs. With each shoulder set with his gathered tops and nod to the forties. Indeed the entire dress is in homage to the 1940s. The skirt is a masterpiece of pleat work and an example of how finely done a pleat can be - each starts below the more fitted hip and are set very deep and uses an excessive amount of fabric, a double layer for most - only in couture would this be as the cost would be prohibitive in RTW to so this. In addition, each pleat keeps the graphic check pattern lined up perfectly with the ones beside it when the pleat closes. This attention to the print is carried out with every seam. I love the long attached tie that extends from the neat little collar and ties around the neck. It also has its original patent belt that slips through patent loops on either side of the waist to cinch it in and create shape and curves that contrast the linear print. It is truly a brilliant dress and 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.

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. 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 dress also comes direct from the daughter of the original Haute Couture client so has not been on the market prior to this. All of her dresses were bought in this general time period so the date on this may not be exact but it is certainly within a season or two of this date.

Unlined with all interior seams hand finished. It closes down the front with hidden set buttons and a low handset side painted metal zip below the waist seam. Small padding in each shoulder. Each cuffs button with two buttons. Finished to Haute Couture standards and entirely done by hand. Haute Couture number 51353

Sleeves: 13.5"
Shoulders: 14"
Bust: 19" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: 19.5" flat across from side seam to side seam
Bodice: 17" from neck to waist
Skirt: 23" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2368

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

Andre Murasan was a fabric artist who had a small shop in Greenwich during the 1960s and early 70s. He also eventually sold his one of a kind designs at Elizabeth Arden's, NYC (where this set is from) and in Palm Beach. Each piece was made of a fine silk and completely hand painted. He made wall coverings, textile for the home and also caftans and dresses. These were the most prized and the rarest and clients would wait list for them even the. Though I do occasionally see a caftan or dress come onto the market I have never before seen a dress and cape like this set - and it is magnificent.

Both pieces are hand painted on a fine bias cut silk. The color swirl over the silk and remind me of the desert, going from soft pale peach to deep rust taupes. The supermodel length dress is a simple slip dress and the bias cut allows it to drape over the body and settle into place to flatter your every curve. It is suspended from the shoulder and sweep to the floor in a cascade of silk, hearkening back to the great bias cut dresses of the thirties and forties. The cape is a work of wearable art. It is completely hand painted in his signature curving design and flows over and around the shoulders. The silk is heavy enough so that it stays in place but light enough that it will move and swirl magnificently around you when you move and walk. Both pieces are in excellent, museum quality condition.

Both pieces are unlined. The dress closes with a side zipper and is tagged a vintage US6. Its tags also notes that the fabric is silk and hand painted. The cape has a tie at the neck and the dress a slit on one side

Dress
Bust: to 16.5" flat across from side seam to side seam
Under Bust: to 17"
True Waist: bias cut - to 17" flat across from side seam to side seam
Hips: bias cut - to 22" flat across from side seam to side seam
Length: 63" from top to hem. it is bias cut so will rise on the body once on

Cape - one size fits all
Length: 64"
Width: 45"

Modern Sizing Equivalent: XS-SML

Item# DD2364

First Reference Photo: unknown, shot of Murasan's Greenwich village shop.  /  Last Reference Photos: Amanda Lee Shirreffs. Click here to see her original blog post on this look >  /  Karen Fairchild

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

On the Jean-Louis Scherrer website, Mr Scherrer is described thus: "..this former classical ballet dancer trained in the excellence of couture and this very Parisian form of elegance by his master Christian Dior.From 1971, his prized address of 51 Avenue Montaigne was the sumptuous realm of a certain fashion where  'everything is fluidity, suppleness and virtuosity… with inspiration to boot…'. From 1962 to 1992, Jean-Louis Scherrer dressed the most prestigious women of the times: Farah Diba, the Kennedy family, Princess Paola of Belgium, France’s then-First Lady Mrs Giscard d’Estaing, actresses Michèle Morgan, Sophia Loren, Raquel Welch and Isabelle Adjani, acclaimed writer Françoise Sagan and so many more."

His true Haute Couture pieces are hard to find and this one is exceptional - a true treasure. 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 dress also comes direct from the daughter of the original Haute Couture client so has not been on the market prior to this. All of her dresses were bought in this general time period so the date on this may not be exact but it is certainly within a season or two of this date

When worn as one the effect is of a gown but it is indeed two pieces. The color is amazing  it is a soft dusty lavender pink in color and the silk as fine a silk as one could find during this time period. The skirt has an almost balletic feel with its yards and yards and yards of bias cut silk floating over an more fitted inner skirt that is made of yet more layers of silk. The fabric takes the merest movement to swirl about you and on a real body is quite fantastic. The jacket is of course a work of art. The House of Scherrer worked with the Lesage atelier for their bead and embroidery work and this jacket shows both those classic couture techniques to full advantage. The entire jacket is covered with bands of alternating bead work and embroidery and every stitch is done by hand. All the embellishment is set on a single layer of silk chiffon and that is then backed by a silk gazar so has just a hint of transparency to it as I have shown on one of the attached photos. In person is will far exceed your expectation. It is truly a brilliant work of art and the level of craftsmanship and care put into the construction really exemplifies just why Haute Couture is so very very rare and coveted. A masterpiece. In excellent, museum quality condition.

Both pieces are fully lined in silk. The jacket's lining is a semi transparent silk gazar and it closes with hidden, hand set, silk covered snaps down the front. The skirt has an inner fitted skirt made of a silk interior and covered with the same silk chiffon that the exterior silk is made from. It closes with a hand set fine zipper and flat hook & eye at the waist. Finished to Haute Couture standards and entirely done by hand. Haute Couture label # 000158 present.

Top
Shoulders: 14"
Bust: 16.5" 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: 23" from neck to hem

Skirt
Waist: 12" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Length: 38" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2361

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 rare and amazing hand painted silk gown set by Zandra Rhodes in a very rare piece from one of her most coveted of all her collections - The Lily collection from 1974. It is constructed of a fine, pale pink, silk chiffon that is entirely hand painted. The top is cut to fit through the body with her wide signature flutter sleeves. The sleeves are left unlined giving a lovely glimpse of bare skin through the silk and a sense of lightness and airiness. It buttons down the back and the ruffled detailed neckline has hand applied beads along the edge and floral flat beads and shells adorn the front. The skirt is remarkable and the way the two pieces fit together is equally so. The skirt is made of yards and yards of that same hand painted silk chiffon and finishes with a ruffled detail which, like the top, has a beaded edge detailing. The waist is elastic and it has a wide ruffle there as well - but the ruffle is very cleverly set. If left hanging over the elastic it serves as  pretty detailing on its own but when worm with the top this ruffle actually flips over and snaps into place forming a curved over the top and it is edged in darling little pink bows. The original tie belt is present and you can tie and bow it around the waist for an extra bit of feminine detail. It is really extraordinary and when snapped into place fully completes the illusion of a true gown rather then tow pieces. I have included a reference photos from the book "The Art of Zandra Rhodes" of a dress from this same collection with a similar finish so you can see the effect when laid out flat. It is a true work of art, exceedingly rare and very special, A true piece of fashion history and a work of wearable art. Excellent condition

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."

Lined with a soft pink silk chiffon through the bodice ad skirt with the sleeves left unlined. The skirt has an elastic waist and slips on to wear. The top buttons at the back with silk covered buttons. A teeny couple of areas along the ruffle have had a stitch added where the fabric was weakinging but it is still extremely strong and wearable. Hand finished throughout and entirely hand painted. It is a touch deeper pink in some areas of the print than how it photoed.

Top
Shoulders: no defined seam
Bust: 17" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: 16" flat across from side seam to side seam
Length: 21.5" from shoulder to hem

Skirt
Waist: 13-15" flat across from side seam to side seam
Hips: 20-23.5" flat across from side seam to side seam
Length: 41" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2358

Reference photo: The Art of Zandra Rhodes (Rhodes and Knight 1984) pg.103

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

A version of this dress in a different colourway was photoed for Vogue in 1972. This same dress was also worn by Samantha Angelo when she attended the Paris fashion shows. Having these as reference photos gives you a great idea of just how gorgeous the dress is once on.

If you are a long time Oscar de la Renta fan you probably recognized this as one of his pieces right away. It is one of his most stunning dresses with its beautiful combination of blue and yellow. The silk that he chose for the dress is as light as a feather. It is a ribbon weave silk made from a scarf weight silk chiffon that is woven through with thick bands of a more opaque silk. This leaves areas that are more transparent then others and also effects the depth of the colour. That stunning blue on the bright yellow give it a fine hand painted china effect and the frog knots and side button details add to his homage to the far east. The bodice is cut high with a banded collar at the neckline. It is cut to skim over the bust to the seamed waist. The sleeves are cut wide and full to billow softly above the wrist. They are unlined so you get a subtle glimpse of skin through the more transparent bands on them. The skirt falls to about midi length and I love the effect of the chiffon over an inner silk lining. Starting on one shoulder and running offset down the front are a series of silk covered buttons set in a tightly spaced row. These line up perfectly with the huge frog knots on the belt that cinches in the waist. The belt is very wide and is made of the same silk as the dress. Great condition with note to review below

Fully lined with a yellow silk and closes with a back, hand set metal zipper with hook and eye at the neck. The belt is attached and closes with the frog knots as show. There is a small discolouration on the upper sleeve and a very faint one on the front above the belt. See the last two product photos. The dress is unlabeled. Hand finishes

Sleeves: 20"
Shoulders: 13"
Bust: 16.5" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: 21.5" flat across from side seam to side seam
Bodice: 14" from neck to waist
Skirt: 35.5" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2355

Reference Photos: (1) Samantha Angelo  /  (2) Vogue, Feb 1972.

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

Louis Feraud launched his couture label in 1950 in Cannes and by 1955 opened the doors to his Paris atelier. In 1958 he presented his first Haute Couture collection. His couture pieces are hard to find and this one is exceptional. By the 1970s he was well established and in 1978 he won the Golden Thimble Award. The dress comes direct from the daughter of the original Haute Couture client who purchased it in and around that same time period. 

This is a beautiful dress that you can wear for day and into the cocktail hour. It has a classic silhouette that still feels fresh and in line with what you are seeing on the runways now. The dress is entirely made by hand to Haute Couture standards and the silk is of the highest possible grade. The top is cut to skim over the bodice and the sleeves pouf out above their buttoned cuffs. There is an attached tie at the neck that ties into a bow. The waist is nipped in and it is cut so that the the top blouses over slightly as you see in the photos. The skirt falls from under there to just past the knee. The entire body of the dress, both the front and the back, has been meticulously pleated into sharp knife pleats. These run horizontally across the upper shoulders and then fall vertically below that. Each pleat is perfectly spaced and some are actually doubled with another pleat of fabric hidden underneath. This technique uses an excessive amount of fabric and it is only in couture that you would see this. The time to hand pleat these so perfectly is mind boggling especially when working with a fabric like silk. The colour in person is a true rich pink. Ot is slightly more dusky and not quite as vivid as how it photoed. It is far better in person and that dress has a wonderfully refined and elegant feel to it. It appears to have never been worn or worn very little. Excellent condition.

Fully lined through the skirt in a pink silk and unlined through the bodice and sleeves. All interior seams hand finished. It closes down the front with hand made silk covered buttons. It buttons from the neck to the waist. Finished to Haute Couture standards and entirely done by hand. Proper Haute Couture label present

Sleeves: 25.5"
Shoulders: 14"
Bust: 18-19" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Bodice: 21" from neck to waist
Skirt: 30.5" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2353

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 dramatic pink silk organza gown was made for my client in 1975 by Loris Azzaro at his atelier. 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 a more romantic turn with this pink confection. It is just stunning. The bodice is flat pleated and shaped - a true feat to construct properly when using a fabric like this. The skirt is made of the same pink silk and flows to the floor with yards of fabric used. I love that he layers the silk of the skirt over a deeper hued pink jersey so you get this interesting depth effect with the color. The cape that tops the gown is nothing short of amazing. It flows from a single hook at the neck to cascade over the gown in a fabulous swath of flowers and silk. The entire outer edge is detailed with huge, hand-done four petaled flowers and each has a cluster of faux pearls in its center. Excellent condition.

Fully lined in deep rose jersey through the skirt and a pale pink silky rayon through the bodice. It closes with a painted metal and nylon zipper. The bodice is boned. There is the teeniest of discoloration along the upper edge of the bodice - I could not photo it and only see it when its lying flat and in certain light - priced accordingly. The cape has a single hook and eye at the neck.

Bust: 18" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 10" from top of bodice to waist
Skirt: 40" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD1689

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 beautiful silk blouse was produced and made by hand at the Yves Saint Laurent Paris atelier. It is a true treasure. 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.

The top is amazing and a classic Yves Saint Laurent cut and silhouette. It is entirely done by hand and the silk is of the highest possible grade. It feels stupendous on. The top is loose fitting and the sleeves slightly voluminous above their French cuffs. An attached tie goes around the neck to tie at the front. Each line of the pattern in the black silk with its red and white lines brilliantly lines up perfectly with the ones beside it on the seams whenever possible - an incredible amount of fabric is wasted to accomplish this. Gold metal buttons are the perfect and refined finish. 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.

Unlined with all interior seams hand finished. It closes with hand set buttons at the front. The buttons are a muted gold tone metal. Small padding in each shoulder. French cuffs, however they do not have the buttons. My client recalls her mother wearing these with jeweled cuffs and we suspect she ordered it without buttons since she wore her own jeweled version. Entirely hand done as one would expect from Haute Couture. Finished to Haute Couture standards and entirely done by hand.

Sleeves: 26.5"
Shoulders: 15"
Bust: 20" 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: 25" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# S693

Reference photos: Violete Sanchez shot by David Seidner for the 1984 ad campaign, Vogue Italia March 1984

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

Jacques Griffe was one of the great French Couturiers who studied under both Vionnet and Molyneux before opening his own atelier in 1946. In the early fifties he expanded his Haute Couture business and began a ready-to-wear line “Evolution” of which this glorious coat is from and that you can see in the 1962 advertisement for the brand that we have included here

You can see the influence of Haute Couture in this coat and it is a rare find - when this was made RTW did not yet mean mass produced, it simply meant that elements of machine swing would have went into the final design and it would still have been made in very limited production. You can see the mastery in the cut with those incredible gathered sleeves especially. It is made of a plush soft deep green velvet, cut to naturally fall into place perfectly in a modified swing silhouette. An achievement with any fabric but more so with velvet! The collar is incredible - over-sized and deep -it is the perfect design detail around the face. I love how the velvet gives the color a richness and depth that would not have been achievable with. Its a chic nod to the couture silhouettes of the late fifties and early sixties but in a way that still feels modern now. Excellent condition

Fully lined in a silk taffeta and closes with a single button at the neck. It is cut wide and loose through the body so will fit a range of sizes if the shoulders work

Sleeves: 21.5" approx.
Shoulders: approx 15"
Bust: to 24" flat across from side seam to side seam
Waist: to 24.5" flat across from side seam to side seam
Hips: to 25.5" flat across from side seam to side seam
Length: 42.5" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# C396

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

You can never go wrong with a perfectly made little black jacket and this stupendous Haute Coutre Balenciaga example is perhaps the epitome of that statement. Balenciaga has gone down in history as being one of the great Masters of couture and was known in particular for his sculptural approach. His pieces look quite simple initially but once one looks at the construction and techniques used to create this illusion of simplicity you realize the complexity behind the design. Made of a textured black wool, the jacket has soft rounded shoulders and a boxy cut. It is cut generously through the body with a nod to the exaggerated proportions of the time. It is finished with domed jet black buttons at the front. It is made to Haute Couture standards with every stitch hand done. This is true Haute Couture and early examples of his work in this condition are exceedingly hard to find. A true treasure. Excellent condition

Fully lined in fine black silk and closes with buttons at the front. Completely hand finished. Numbered behind the main label #83010

Sleeves: 24" approx.
Shoulders: no defined seam
Bust: 23" flat across from side seam to side seam
Waist: 22" flat across from side seam to side seam
Hips: 23" flat across from side seam to side seam
Length: 22.5" from neck to hem

Modern Sizing Equivalent: MED-LRG

Item# S690

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

Inspired by a trip through Mexico, the pieces from this collection draw on the colors and impact that the Mexican lanscape and people made on Zandra. The "Mexican Collections" has gone on to be one of Zandra's most well documented seasons and examples are held in museums and private collections world wide. We have included a photo of the same dress in a different colorway from the Zandra Rhodes website where the dress is simply denoted by its original style number '76/33' and described as a "silk chiffon evening dress worn with a satin sash; deep v-neckline with pleated and frilled collar and rouleaux lacing with enamelled white flower beads; below elbow length wide sleeves, and a full-length skirt in the Mexican Banana Leaf print."

In her book "The Art of Zandra Rhodes" Zandra speaks about the prints developed from this trip including the banana palm leaf print which is featured prominently on the skirt of this gown: "One morning in Oxaca when I woke up very early, I saw a some banana palms just by the camp site. I made some sketchbook notes on how I imagined large real sized banana leaves would look on the human body" Rhodes also notes that this was the collection where she began to "develop the art of dying beads to match or co-ordinate completely with print and chiffon color statements."

This rare and amazing, entirely hand painted, silk caftan gown is just wonderful. This version is a beautiful combination of a turquoise blue mixed with ocean tone and pink highlights. It is made entirely of hand painted silk chiffon and incredibly, you can feel the paint on top of the fabric. Not only does it have its original wide satin sash, but a second slimmer ties belt and I even have its original Zandra Rhodes hand painted and hand padded hanger! This is a real piece of fashion history.  The bodice is cut loose and full and dips dramatically to plunge to the waist at the front and is embellished with pearlised floral shaped beads that run across little fabric pieces that keep the neckline in place. Small beads are also hand sewn along the ruffle edge of the neck. The waist is a wide gathered elastic band that look as good on its own or with the satin ties over the elastic. The skirt is beautifully full and cascades to the floor. The print is entirely done by hand with that famous banana leaf print plunging down the front center. It is a true work of art, exceedingly rare and very special. Excellent, museum quality condition

Lined with a silk through the bodice ad skirt with the sleeves left unlined. The dress has an elastic waist and slips on to wear so fits a range of sizes. Come with its original boutique hanger and two sashes. The sash(es) tie at the waist. A teeny couple of areas on the sleeve where the fabric has thinned (see photo) but it is still extremely strong and wearable. Hand finished throughout and entirely hand painted.

Sleeves: 18" approx.
Shoulders: no defined seam
Bust: variable
Waist: 12-14.5" flat across from side seam to side seam
Hips on inner lining: 19" flat across from side seam to side seam
Bodice: 12.5" from neck to waist
Skirt: 45.5" from waist to hem

Modern Sizing Equivalent: XS-MED

Item# DD2347

Reference photos: The Zandra Rhodes digital study collection, Zandra Rhodes
Further references of this print and gown that can be found in the book: The Art of Zandra Rhodes (Rhodes and Knight 1984) pgs.158-175)

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 particular gown and it is as good as the first time. This one is a little bit bigger in size then the first one which is an added bonus. It is an amazing, rare and important silk metallic brocade gown by Oscar de la Renta that is just vintage perfection. The fabric is shockingly light - at first glance you would think it is a heavy weight stiff brocade but it is actually quite light. It is of a good enough to retain the shape but easy to wear. Very regal and refined, this really sums up Oscar's love of opulent restraint. It covers you from top to bottom with a simple neckline, simple bodice and long lean skirt - the simplicity of the cut allows that stunning fabric to shine. The skirt is a subtle A-line from the waist and I love the hidden pockets that are along the side seams of the skirt. The original belt is present so you can cinch in the waist as required to add a nice nipped waist and feminine touch. The neckline has elastic running through it so you can wear the sleeves off shoulder and the sable trim is the last perfect finish. The silk metallic brocade fabric is amazing - gold threads mix with chocolates and a deep red coral creating whose different finish threads create different textures and weaves so you get a subtle 3D effect and the raised bits become another dimension to the design. It's an amazing piece. Excellent, museum quality condition with one small flaw noted below.

Fully lined in a light taupe silk  and closes at the back with a painted metal zipper. The original slide buckle belt is present and is also in great condition.There is the very faint interior discoloration on the lining under the arms and the teeniest bit of color run on the exterior. Priced according (I priced the first one I had at $2500 so this one is a steal at this price)

Bust: 18-19.5" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: to 24" flat across from side seam to side seam
Bodice: 14" from shoulder to waist
Skirt: 43" from waist to hem

Modern Sizing Equivalent: MED-LRG

Item# DD2342

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 "slashed" and cut out one shoulder design is well documented when it made its original appearance on the 1988-89 runway. It is even a design beloved enough that a version of it was revived for the 2013 couture collection by Azzedine Alaia. The 2013 dress was photoed on Giselle and done in a sheer silk and referenced here along with some images of version from the original collection.

This dress is from that original 1989 collection and it is spectacular. It is made of his signature black stretch 'bandage' knit through the body and skirt. This is contrasted with a ribbed knit top that is backed in nude giving it a different contrast and tone. The skirt hugs your curves with a slit at the back that allows you to walk comfortably. The top is genius in its cut. It curves up and over the shoulder with a cut out detail running down the middle that is set on an angle. At the back the fabric curves around and wraps to meet with a circle suggesting a large bloom blossoming across your shoulder blade. It is truly a work of art and a rare piece. This is a holy grail for the Alaia collector and that perfect mix of sexiness and supermodel, high glamour that Alaia excels at. Excellent condition.

The skirt is unlined and the top is interlined in a nude lingerie weight stretch jersey. It has a low set zipper at the back of the skirt. Tagged a vintage Alaia XS. The fabric does have stretch

Bust: approx 16-19" flat across from side seam to side seam
Waist: 10.5-13" flat across from side seam to side seam
Hips: 15-19" flat across from side seam to side seam
Bodice: approx 15" from top of bodice to waist
Skirt: 38" from true waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2340

Reference Photos: "All About Alaia" Photographed by Hans Feurer Elle Us 1989  /  Yasmin Le Bon for Alaia, 1989  /  Gisele Bundchen in Alaia Couture by Gilles Bensimon, Elle Jan 2003.

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

Perhaps one of the most iconic of all the Alaia collections, and most certainly the one that is instantly recognizable, the Fall/Winter 1991-1992 collection was head to toe leopard that in its day was mind-boggling daring and almost subversive. He put the print not only on dresses and leggings but on the shoes, berets and bags. He took all the rules on wearing a leopard print, threw them out the window and then had a bevy of the hottest supermodels of the day, stomp them into oblivion in their 6 inch stilettos. Remarkably and perhaps not surprisingly, it still looks as fresh now as it did then. It's hard to argue genius. Versions of this piece were featured prominently both in the Alaia exhibit at the Groninger Museum and accompanying book 'Alaia- Azzedine Alaia in the 21st Century,'.

Here we have one of the most sought after pieces that Alaia ever produced - the stretch knit dress in his leopard print from that collection. Made of a stretch wool knit that has that iconic print worked directly into the knit. I love how the print uses different textures for each of the colors - in person this gives the print and almost 3D feel and subtly suggests the texture of "fur". It slips on the wear and instantly hugs your every curve. The contrast of being fully covered and yet having your every curve show is part and parcel his genius. This dress has never been altered and exceedingly hard to find. They were made in very limited quantities and the girls who do have them hoard them. Grab it while you can. Excellent, museum quality condition

Vogue said of this collection that year: "From the start, sexy knits were Azzedine Alaïa’s calling card. So it wasn’t a surprise to see them in his Fall 1991 collection, but the response to the show was nonetheless overwhelming, a feat all the more remarkable considering it was presented months after the season ended. (“When the collection is ready, it’s ready,” was Alaïa’s attitude.) What made the show so unforgettable was its appealing anthropomorphism—his butterfly- and leopard-print knits were not only transcendent, but transformative, adding a new and feral sense of “animal magnetism” to his body-con silhouettes."

Unlined and closes with a hidden set back zipper. Tagged a vintage Alaia small, the fabric does have stretch

Sleeves: 23"
Dropped shoulders: 16"
Bust: 17-19" flat across from side seam to side seam
Waist: 12-14" flat across from side seam to side seam
Hips: 16-19" flat across from side seam to side seam
Length: 35.5" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD2339

Reference Photos: "Alaia Throws A Curve" by Jean Baptiste Mondino Mode for Vogue US November 1991  /  Runway photo Alaia F/W 1991 from vogue.com  /  Image from the book 'Alaia- Azzedine Alaia in the 21st Century,' the accompanying exhibit book for the Alaia exhibit at the Groninger Museum.

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

Unlined and slips on with two buttons at the waist. Meant to be worn huge and over-sized. Tagged a vintage Alaia small. The over-sized cut will fit a variety of sizes.

Sleeves: 32"
Shoulders: 24"
Bust: 23" flat across from side seam to side seam
Waist: 18" flat across from side seam to side seam
Length: 26" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# S689

Runway reference photo: vogue.com  /  Tina Turner in Alaia by Bruce Weber.

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

Inspired by the "10-for-1 chic" of the Parisian discount store, Tati, and its gingham striped awning the fall 1991 collection has become one of Alaia's most iconic and coveted for that instantly recognizable print. Shown in red on the runway version of it were photoed endlessly that season. The entire collection has been well documented, both then and over the years since and was featured in all of the major fashion magazines as the collection of the season. Versions of this piece were featured prominently both in the Alaia exhibit at the Groninger Museum and accompanying book 'Alaia- Azzedine Alaia in the 21st Century,'.

Both pieces are made from Alaia's signature "bandage" knit fabric that is is meant to fit and hug you like a glove. The top is a simple tee style but done in his knit and cropped to just under the bust. The leggings fit like a glove and have his signature looped and defined waist. Banding finishes the cuffs, sleeves and neckline as well. It is very sexy and you can of course break up the set and wear each piece with something else for a variety of styling possibilities. Very rare and collectible.

Both pieces slip on to wear and are unlined. Made from his signature 'bandage" fabric so have stretch. There is perhaps the very slightest of greying to the white of the banding on the pants but from what I have seen from these this fabric did this as soon as it was cleaned and worn, some tiny dots of spots here and there but get lost in the pattern. Please super-size the photos to view. The top is tagged a vintage Alaia medium  and the leggings a small

Top
Shoulders: 15"
Bust: 17-19" flat across from side seam to side seam
Waist: 13.5 - 16" flat across from side seam to side seam
Length: 14" from neck to hem

Pants
Waist: 13-15" flat across from side seam to side seam
Hips: 16-20" flat across from side seam to side seam
Length: 36.5" from waist to hem
Inseam: 27"

Modern Sizing Equivalent: XS-SML

Item# DD2337

Reference Photos: Runway photo: vogue.com  /  Yasmeen Ghauri in Azzedine Alaïa Ensemble from the Tati Collection, photographed by Patrick Demarchelier for Vogue, 1991  /  Image from the book 'Alaia- Azzedine Alaia in the 21st Century,' the accompanying exhibit book for the Alaia exhibit at the Groninger Museum.

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

This iconic black and white gingham Alaia "Tati" cropped bra top and short set was instantly made an icon when photoed on supermodel Yasmeen Ghauri. Inspired by the "10-for-1 chic" of the Parisian discount store, Tati, and its gingham striped awning the fall 1991 collection has become one of Alaia's most iconic and coveted for that instantly recognizable print. The entire collection has been well documented, both them and over the years since and was featured in all of the major fashion magazines as the collection of the season. Versions of this piece were featured prominently both in the Alaia exhibit at the Groninger Museum and accompanying book 'Alaia- Azzedine Alaia in the 21st Century,'.

Both pieces are made from Alaia's signature "bandage" knit fabric that is is meant to fit and hug you like a glove. The top has molded and seam cups and a cross over back. The shorts are meant to fit high and tight and I love the little top set pockets on each cheek. It is very sexy and you can of course break up the set and wear each piece with something else for a variety of styling possibilities. Very rare and collectible.

Both pieces slip on to wear and are unlined. The shorts have front curved pockets on each hi and top set pockets at the back. All are functional. They are made from his signature 'bandage" fabric so have stretch. There is perhaps the very slightest of greying to the white of the banding on each piece but from what I have seen from these this fabric did this as soon as it was cleaned and worn. Please super-size the photos to view. The top is tagged a vintage Alaia xs and the shorts a small

Bra Top
Bust: 15-18" flat across from side seam to side seam
Under-bust: 13-15" flat across from side seam to side seam
Length: approx 13" from neck to bottom

Shorts
Waist: 14-16" flat across the back from side seam to side seam
Hips: 18-20" flat across the back from side seam to side seam
Pant length: approx 13" from waist to bottom

Modern Sizing Equivalent: XS-SML

Item# DD1424

Reference pohotos: Various Vogue from that season / Image from the book 'Alaia- Azzedine Alaia in the 21st Century,' the accompanying exhibit book for the Alaia exhibit at the Groninger Museum.

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

This is an amazing and very rare, very limited production Azzedine Alaia custom made "couture" level python skin biker jacket. In all probability there were only one or two of these made in the entire world and this certainly this is the only one I have seen in this color. The same jacket is held at The Museum at FIT in a green python skin version and that set belonged to Veronica Webb. If only we knew who this one once belonged to.

This amazing piece show cases the best of Alaia and effortlessly combines tough with sexy. The sleeves are cut like a classic motorcycle jacket and end with buttoned cuffs. The buttons used on both the front and cuffs are amazing - each is a combination of a silver metal and enamel topped with a white enamel star. The collar is notched and dramatic and the jacket is cut short and sexy to the waist. It is biker meets couture and the ultimate holy grail for the Alaia collector. A modern equivalent from Alaia would be well over $20k or more, if you could even get your hands on one. Museum quality, excellent condition.

Please note that shipping restriction may apply to this item - if you have concerns about your country please contact me prior to purchasing. Fully lined in a black silky rayon and buttons to close with metal and enamel, domed buttons. Each cuff also buttons to close. The skins are in excellent condition and are supple and not dry. Please note that due to the nature of the skins returns outside of Canada will not be accepted on this item. Couture level quality and tagged a vintage Alaia size 40

Shoulder: (slight drop) 17" across
Bust: to 18" flat across the inside back from side seam to side seam
Waist: 13" flat across the inside back from side seam to side seam
Length: 16" from mid back at the neck to longest point of hem
Sleeve length: 22"

Approximate modern size equivalent: XS-SML

Item# C149

Reference photos: (1) From The Museum at FIT.  /  (2) Iman wearing Alaia, with David Bowie, 1992.  /  (3) Alaia 1991 Runway.

This garment is in sound, clean, as found condition and is odor free. Thoroughly checked over before shipping, it will be ready to wear upon arrival