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 what was the most photoed piece of the entire collection - the molded corset in leopard. There was literally too many photos of this piece to be able to fit all of them into the listings for this piece to accommodate our 12 photo restriction within each listing here on our website - a simple google will pull up dozens more. It is 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". Each vertical and curved band of the bandage like fabric is attached to the one beside it with a criss cross cording that once on allows for a peek of skin. Inside there is a full padded and molded underwire bra to give list and support. This is a once in a life time find and is one of the Holy Grail finds for the serious Alaia collector. 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 chunky zipper up the back and interior hooks on the inner attached bra. Tagged an XS but the fabric does have stretch. Note that the black skirt shown is for styling only and is not included.

Bust: 13.5-14" flat across from side seam to side seam
Waist: 10-10.5" flat across from side seam to side seam
Hips: 12.5-14" flat across from side seam to side seam
Length: 18" from shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# S687

Reference Photos: Runway photo from vogue.com  /  Naomi Campbell by Michael Roberts 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 amazing and very sexy little Alaia knit dress is one of my favorites from his more recent collections. It is made from a loose weave, ribbed knit, over a nude colored inner sheath so that it appears that you are wearing the knit over your bare skin. This inner lining is deliberately cut shorter in length then the exterior skirt so that a glimpse of bare upper legs peeks through the knit of the skirt. A very sexy detail. As with all Azzedine Alaia pieces, this dress is cut to hug and highlight your every curve. The workmanship and the fabric is the best you can get and I love the saucy, flippy little skirt that finishes the dress with its feminine ruffle. Long skinny cut sleeves are the perfect finish. This is classic Alaia and a play on an earlier design he made famous in the nineties. Excellent condition.

Fully lined in a nude lingerie weight jersey except for the sleeves. It closes at the back with a zipper. Tagged an Alaia large but fits small so please check measurements. The fabric does have stretch so will accommodate a variety of sizes. Note that it is a touch too large on my mannequin and will sit better through the upper body on the proper size girl

Sleeves: 29"
Shoulder: approx 15"
Bust: will stretch to about 20" flat across from side seam to side seam comfortably
Waist: will stretch to about 17" flat across from side seam to side seam comfortably
Hips: will stretch to about 20" flat across from side seam to side seam comfortably
Length: 37" from neck to hem

Modern Sizing equivalent: MED-LRG

Item# DD1137

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 1990 collection had a wide range of ideas and themes including a nod to the beautiful calligraphy in the Kufi script that was embroidered onto the runway version of a knit bodysuit, worn by Naomi Campbell and a very few select other pieces. This romper is a take of that same print with a more stylized version of that calligraphy mixed with an abstract floral design. Azzedine was so private at the time that the actual runway show was not even formally announced, nor were invitations sent out. Despite that the mere word of mouth caused a line up of people to stand and wait for entry. Such was the power of Alaia. Very few pieces were produced and this is an exceptionally rare piece.

The romper is cut low at the front with a low scoop neck and racer back halter back that leaves a wide expanse of skin showing. I have styled it in some of the photos with a simple black bustier (not included). It is made of his signature "bandage" knit so hugs and molds to the body. The shorts are finished with a edging of black ribbing. It's amazing. Excellent condition

Unlined and closes with a hidden set side zipper. Note that if you over-open the zipper at the bottom it can get finicky about closing but is still fully functional and is original to the piece so I was hesitant to replace it. Tagged a vintage Alaia small. Bustier shown is not included

Bust: no true side seam because of the scooped front
Under-bust: 12-15" flat across from side seam to side seam
Waist: 11.5-13" flat across from side seam to side seam
Hips: 15-18" flat across from side seam to side seam
Length: approx 34" from shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD2335

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 the coveted leopard skirt in his leopard print from that collection. It is a simple pencil skirt silhouette and 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". 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 pulls on to wear. Tagged an XS but the fabric does have stretch. The bustier shown is for styling purposes only and is not included.

Waist: 12-14" flat across from side seam to side seam
Hips: 15-18" flat across from side seam to side seam
Length: 21.5" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2334

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  /  Yasmeen Ghauri in Azzedine Alaia by Patrick Demarchelier, Vogue Italia March 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.

Even in 1992 Azzedine Alaia was a pricey proposition - Elle reported that year that his collection was "extraordinarily pricey with cardigans run around $1,400 and dresses between $2,500 and $3,500". Unheard fo pricing in 1992. In a 10 page spread (some of the photos are referenced here) he speaks of his " delights in the space-age fabric he used for his Spring `92 collection (he calls the NASA-developed material "Relax" for its purported ability to act as a screen against microwave emissions)". Amongst the many pieces made of this new fabric were the body clinging bandage like dresses of which this is one. 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,'. 

The knit is made to hug and exaggerate your every curve. The dress is cut long and lean and its vertical stripes just add to that illusion. The neckline sits low across the bust for the suggestion of a Victorian corset in cut and I love the off shoulder strap detail with its second strap that curves around the top. There is no defined waist - it glides past the bust and down and around the hips to mid-calf. A slit at the back allows you to walk - barely. It is utterly amazing and sexy as hell. Excellent condition with one small flaw as noted below

Unlined and made of his signature "bandage" knit - this one a cotton mix. It closes with a hidden set zipper up the back. Tagged a vintage Alaia medium. There is one faint mark on the front just off center and about upper thigh height. It may come out with additional cleaning. The fabric has stretch

Bust: 13.5-18" flat across from side seam to side seam
Waist: 11-14" flat across from side seam to side seam
Hips: 15-18" flat across from side seam to side seam
Length: 48" from shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD2333

Reference Photos: Tyra Banks for Alaia S/S 1992 from fashionanthology.com  /  Christy Turlington in "Chez Azzedine Alaia" (French Elle, May 18, 1992) Photographed by Gilles Bensimon.   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.

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 the coveted leopard leggings in his leopard print from that collection. They are a simple affair and 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". 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 pull on to wear. There is perhaps the very slightest hint of grubbiness at the hem of each leg but this is very minor and in no way reduce the value. Tagged an XS but the fabric does have stretch. Note that the black bustier is for styling only and is not included.

Waist: 12.5-14" flat across from side seam to side seam
Hips: 15-19" flat across from side seam to side seam
Length: 35" from waist to hem
Inseam: 25"

Modern Sizing Equivalent: XS-SML

Item# DD2332

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

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 love this dress. It is so unusual and so pretty and looks fabulous on. The blue fabric is a fine silk chiffon that has a textured design woven in tot eh fabric. Over that are little pops of white and scattered amongst those the Courreges logo is worked into the print. This flows over an interior lining and is cut to have volume around the body and narrow in slightly at the hem. At the bodice and back is an angled panel of white jersey and the silk gathers into this along its edges in soft ruching. The back is cut high and flat across. The front mimics a corset with a button closure that starts low under a peaked front. Each strap curves over the shoulder and splits into two at the back. It is just amazing and looks to have never been worn. Excellent condition

Fully lined in a white silky rayon and closes with the buttons at the front and hidden snaps under those. Slips it on to wear. Tagged a Courreges size 0 and looks to have never been worn

Bust: 17" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 57" from top of shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD2271

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

Looking like it just came straight from the 1990s catwalk comes this iconic rhinestone encrusted dress by New York design phenomenon Todd Oldham. It is a super sexy little black knit number that fits and hugs your every curve. it is made of a stretch black knit jersey that has amazing swirling design, that mimics your curves, worked over the back and front of the dress. This is made of large hand set rhinestones so the dress has a bit of of glint to it when the light hits it. The fabric makes it fitted to the body with a scooped neck and back and ends just above the knee at the hem for maximum leg exposure. Oldham only designed for a short period and his more embellished and glitzy pieces are very hard to find. Appears to have never been worn. Excellent condition.

The dress is made of knit wool jersey with some stretch. It closes at the back with a hidden set zipper. Hand set Rhinestones. It has a secind inner stretch jersey lining and is marked a petitie

Bust: 14-17" flat across from side seam to side seam
Waist: 12-14" flat across from side seam to side seam
Hips: 15-18" flat across from side seam to side seam
Length: 36" from shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD2313

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

We spotted the twin of this dress in the twitter feed of Lacy Schutz showing the dress from the archives of The Museum of the City of New York (see that here). From his very first label, this dress has a certain air of youth and experimentation  then did his later work. It is made out of a heavy cotton and there is literally yards of fabric in the dress. The fabric is printed with a colourful, vibrant patchwork design and this contrasts perfectly with the more formal cut of the dress. It buttons down the front with a series of multi colored buttons and has darling little cap sleeves. The waist nips in and the skirt flows to the floor in a cascade of fabric that has tremendous volume. The sheer yardage of the skirt causes this dress to feel heavy when it is off the body but once on, the weight balances perfectly and it does not feel cumbersome to wear. This dress feels completely fresh and modern now in light of what is happening on the cirrent runways, despite being almost 50 years old. Excellent condition

Fully lined in a white silk and closes with buttons to the waist and handset, fabric covered snaps and hook & eye under that. I believe the top button has been replaced but cant be certain as it may have intentionally been different. Some minor discoloration to the inner lining of the skirt that cannot be seen when on nor does it go through the the exterior fabric. Mentioned for accuracy only. Note that it really is a touch too small on my mannequin - on the proper sized girl it will close properly at the front waist with no pulling. Hand finished, pockets on either hip

Shoulders: 14.5"
Bust: 16.5-17" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: open
Bodice: 14" from top of bodice to waist
Skirt: 39" from waist to hem

Modern Sizing Equivalent: XS

Item# DD2310

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

Yves Saint Laurent was the master of making simple pieces into something luxurious and fine and here we have a Haute Couture example that is the very definition of that aesthetic. The tunic, pant and tie are all made of a very fine, high grade silk in a black and white. I love that the tunic is covered in little abstarct white half circles and the pants adorned in tightly spaces "stars", while the tie belt is both - one pattern on one side and the second on the other. The pants are cut loose and easy - almost a pajama pant - with an elastic waist and a wide leg that in anchored with a broad band of black silk at the hem. They are slightly cropped and feel incredibly modern. The tunic lies over the pants and falls to just above the hem with long high slits over the sides that go right up to the hip. There are two buttons at the top of the tunic and one below where the belt would tie - I feel like it is really meant to be worn more open and loose over the pant with the belt slung around the hip for a hint of shape. It is incredibly easy to wear yet is cut with a master hand so scream luxury. Excellent, appears unworn condition

The present day house of Saint Laurent has only just announced that they are doing a exclusive version Haute Couture for select clients, however they are not yet recognized by the Chambre de commerce et d'industrie de Paris. This set was produced and made by hand, under Yves himself and when the house was a true member of the Haute Couture. 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 since they are the originals.

Both pieces are unlined. The pants slip on to wear with elastic at the waist and the Haute Couture red thread at the inner waist to denote the front. The tunic has three buttons down the front and retains its original tie belt. Numbered 43427. The easy shape will allow for a range of sizes

Tunic
Sleeves: 16.5"
Shoulders: 16.5"
Bust: 19.5" flat across from side seam to side seam
Waist: 21" flat across from side seam to side seam
Hips: 22.5" flat across from side seam to side seam
Length: 47" from neck to hem

Pants
Waist: 11-13" flat across from side seam to side seam
Hips: 17-19" flat across from side seam to side seam
Length: 37.5" from waist to hem
Inseam: 28"

Modern Sizing Equivalent: XS-MED

Item# DD2302

Reference photos: (1) Yves Saint Laurent S/S 1978 Haute Couture Runway. /  (2) Actress Romy Schneider, photoed by Manuel Litran, August 1, 1978

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 famous of all the Gucci dresses produced while Tom Ford headed the house, this is the gown made famous by Georgina Grenville in the Gucci ad campaign of 1996. It quickly was wait-listed world wide and sold out everywhere. It was only ever produced in black and white and here we have the black version. I have seen these come to market occasionally but rarely do they still have the gold toned metal "G" adorned g-string that sits under the dress and peeks perfectly through the keyhole on the hip. The dress is cut to fall in a beautiful sweeping column of slinky black jersey and skims over the body rather than to hug. The sexuality of the piece is in that glimpse of skin at the hip and the flash of gold against the span of bare skin. Carolyn Murphy wore this on the runway (picture below and in the reference video) and with nothing under it but that G-string that the gold G is mounted onto it and it brought down the house. In addition to appearing in the ad campaign, Tatjana Patitz wore it for the Vogue AUSTRALIA editorial "The Lioness" in the May 1997 issue. It is incredible and an extremely well documented piece of fashion history. Excellent condition.

Fully lined in a black jersey rayon. Slips on to wear. Tagged a 44. Please check measurements as Gucci does run small. The G string that goes under the dress hooks to close on one side with a large lobster claw clasp. This gown was featured on our blog - click here to see

Sleeves: 26"
Shoulders: 14.5"
Bust: 18" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Bodice: 60" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD1335

Runway reference photo credit: style.com
Second reference photo credit: Vogue Australia, May 1997
Third reference photo credit: Gucci ad campaign, 1996

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

This is a really phenomenal gown whose photos here really do not fully convey the beauty of the fabric or the richness and pure genius of that thick border of fabric "feathering" at the collar. Sarmi was known for evening wear and dramatic pieces that were highly embellished and had a decadent feel to them and this is a wonderful example of his work. The body of the dress is made of a polished silk organza with a defined waist. The skirt flares out gently from that waist and widens slightly as it falls gracefully to the floor. The neckline is the absolute star of the dress a wide wide panel of hand cut silk is hand applied to form almost a bib of what at first glance appears to be feathers. The contrast offered by the cream of the silk and the jet black organza is fantastic. It is like wearing an exotic neck-piece on your dress and gives it a chic but dramatic feel. Most likely a one of a kind custom piece. Excellent condition

Fully lined with a black silk and closes with a hand set, back painted metal zipper. Hand finishes throughout.

Bust: 17.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Inner lining hips: 20" flat across from side seam to side seam
Bodice: 11" from top of bodice to waist
Skirt: 44" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD2298

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 incredible dress is from the 1949 collection by Claire MacCardell and its a version in a camel wool is held in The Mets permanent collection which I have also shown here. My version is a deep blue in a heavy and early silky rayon. The body of the dress is entirely pleated in tight, sharp perma pleats that create tremendous movement when you move. They slightly soften out at each side for an interesting contrast and continue the line of the solid fabric of the sleeve down the sides. The dress hangs sleek and slim when you are still and then can flare quit dramatically with a twirl since there is a deceptive amount of fabric in there. The sleeves are cut wide from the waist and narrow to a slim cuff. I love the attached wrapped tie that you can tie in several different ways giving it a nod to the ancient Greeks. The collar is pointed and it has a single button at the neck - the photo of the Met's version shows it fully closed - I have photoed it with the front open so you can see how it is open to the waist. This is perhaps the best McCardell I have seen in many many years. It is extraordinary.

I would also like to share the text from the Met's entry on their version: Claire McCardell is remembered as a pioneer of American fashion. After studying at Parsons and living in Paris, she returned to America to design functional, affordable clothes for the American woman. Her simple use of natural fabrics, such as cotton, denim and wool combined with flattering silhouettes filled a vacancy in women's fashion. Her first success was the tent-shaped Monastic dress, which had no form, but when belted became body-revealing and flattering. For the length of her career, McCardell designed inventive, sometimes daring looks that were mass-produced down to every last spaghetti tie and brass hook.

A modified monastic-style, this dress is somewhat shapeless without the spaghetti ties, which wrap multiple times around the waist. There are no waist or dart lines, and the collar with button closure is the only clear signifier identifying the front of the dress from the back. The heavy pleating at the center of the dress is very reminiscent of the designer Alix, which was a favorite source of inspiration to McCardell.

Unlined and slips on to wear with a single button at the neck and attached ties at the waist. The pleats and open cut will allow it to fit a large range of sizes

Sleeves: 15" approx.
Shoulders: no defined seam
Bust: no true defined side seams
Front waist: 14" flat across from side seam to side seam but the back is not seamed so you have as much room as you need
Hips: variable - the pleats allow for a large range of sizes here
Bodice: 12" from neck to waist
Skirt: 26" from waist to hem

Modern Sizing Equivalent: XS-MED

Item# DD2295

Reference photo from The Metropolitan Museum of Art 'The Collection Online'.

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 spectacular Chanel cape and full length, full skirt is jaw dropping in person. It is made from a deep blue parachute silk that is of very high grade and very fine. The skirt flows to the floor with yards and yards of that stunning blue silk fabric so that it floats around the wearer. It is cut it to fit around the hips and then the flares out in a dramatic gathering just under the hip with so many yards of silk used that it has a natural fullness despite being extremely light in weight. Topping the skirt is a couture level cape that provides high drama but is still wearable and feels modern. The collar is an elaborate ruffled affair with thick braided silk cord that runs through to tie at the front and end in bold silk tassels. This gives it a touch of romance that hints at eras past but never becomes to like a costume but rather feels like true couture. The styling possibilities are endless and is very versatile because it is two pieces so you can wear it together or break the pieces up to wear with others items. It is timeless and an amazing ensemble that is masterfully cut and as beautiful as one would expect from Chanel. Excellent condition

The upper portion of skirt around the hip is lined in hand set blue silk to the lower seam and then the full skirt is unlined below that. It closes with a fine painted metal zipper. The cape ties to close with the cord at the neck and is lined in a fine, light silk in the same blue. Both pieces are very light and fine. Hand finished. Note that the skirt is a size too big on the mannequin and was lightly pinned. It will fit and fall better on the proper sized girl.

Cape
16" from neck to hem

Skirt
Waist: 15" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length of top fitted hip: 8.5" from waist to seam
Total length: 44" from top of waist to bottom hem

Modern Sizing Equivalent: MED-LRG

Item# DD1766

As photographed for creative purposes by Ted Belton. Stylist: Amanda Lee Shirreffs. Hair & Makeup: Erin Heather. Model: Ginni Connors at Elmer Olsen.

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

Chic and sophisticated, the collector of the little vintage black dress really cannot go long before a Norman Norell lands in her closet. His dresses are cut masterfully and beautifully with every line and seam placed exactly where it should be. This particular dress is a fabulous example of just that and I love it. It is a chic, slightly textured, wool sheath that has fabulous little top set pocket detailing on each hip. The neckline is high with a neat little collar and the upper bodice accented through beautifully curved seaming. The sleeveless silhouette feels modern and fresh. and the gentle A-line of the hem is very flattering when on. Don't be fooled by it's simplicity - it is seamed and constructed to couture levels and the finishes within it are superb. A classic that will last you a lifetime and then still be relevant! Excellent, appears unworn condition.

Fully lined in black silk and closes with a back painted metal zipper. The front pockets are tiny but functional.

Bust: 17.5-18" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 41.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD2291

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 woman behind the Maggy Rouff label was Maggy Besançon de Wagner and she started her own label in 1928 after a working at the Haute Couture house of Drecoll. The Maggy Rouf house joined the Chambre de commerce et d'industrie de Paris in 1929 and continued to produce Haute Couture until 1965. Maggy gaibed early recognition by designing for the some of the Starlets of the day like Theda Barra, Pola Negri, and Greta Garbo.

This is a stunning and perfectly cut little black day or cocktail dress that has the Haute Couture, numbered label of the Rouff atelier. The work is exceptional throughout and of course it is made entirely by hand right down to hand finished interior selvages. It is made of a felted wool and seamed to perfection. The skirt portion is fitted around the hip and flares out as it nears the hem. It is almost impossible to see with it being black and only in a photo but the back seaming curves in from the waist and them narrows to end at either side of the middle seam at the back - this creates a gentle curve so the skirt hugs and shapes the bottom. The waist nips in and the bodice is fitted to curve around the bust. I love the way the panels sit at each bust to give a slight bit of extra fullness and the shoulders are cut wide so it leaves an expanse of skin showing. Lovely domed jet buttons give it a subtle bit of sparkle. It is just extraordinary and a dress made to last a lifetime whose classic lines will forever remain in style. Excellent, museum quality condition.

Unlined with partial lining through the bust area. Boning through the bust area as well. Completely hand made and finished to Haute Couture standards. Numbered label

Wide cut shoulders: 19"
Bust: 17" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Bodice: 14" from top of bodice to waist
Skirt: 28.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD2289

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 truly stunning set from the legendary house of Gucci that has that ultimate rich girl, country club chic vibe! Both pieces are superbly simple in cut, allowing the beauty of that custom screened, pheasant and horn, silk twill Gucci fabric to shine. The colors are a mix of a deep burgundy with red square outlines for each printed frame, with the birds and horns printed within each resulting frame. The skirt is tightly knife pleated right from the waist so it falls fairly straight but with tons of volume and swing when you move. Incredibly each panel is exactly lined up with the square of the print - the work to do this would have been incredible! The top is a soft cut that buttons down the front with cut out, domed gold tone metal buttons at the neck. The waist is cinched in with a band of fabric and each cuff buttons. I love the neat little collar and detailing across each shoulder. This is a classic and collectible set that is a once in a lifetime find from one of the greatest fashion houses in the history of fashion and is right on par with the latest Gucci collection too. Excellent condition

Both pieces are unlined. The skirt has elastic at the waist and closes with a button at the side on the waistband. The top slips and buttons down the front. Tagged a vintage Gucci 42 but please go by actual measurements

Top
Sleeves: 23.5"
Shoulders: 15.5"
Bust: 20" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Length: 19.5" from waist to hem

Skirt
Waist: 10.5-12" flat across from side seam to side seam
Hips: open
Length: 26.5" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2288

Reference Photo: Samantha Angelo on Day 1 of Milan Fashion Week AW16 (credit: Getty Images)

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 jacket and shell set is from the 1962 collection when Coco herself still oversaw the house and collections. It is absolutely divine. The fabric is a fine silk brocade with silver metal thread woven through the fabric to highlight the design. The design itself is slightly raised and the use of the silver gives the entire thing a very subtle glimmer in the light. The tank is cut simply with small straps and a loose fit through the body. The jacket is an evening version of her classic box jacket. It does not close but rather just slips on where it instantly drapes to perfection. The edges are finished with a fine silk braid that has gold thread hand-stitched over every inch. The jacket has her signature gold chain along its inner edge. It is entirely made by hand as Haute Couture dictates and the fabrics would have been made specifically for Chanel and this piece. A fine and rare example of her work from this time period. Presents as excellent but does have some minor flaws, please read description below.

Both pieces are lined in an early, pale pink silk jersey. Hand finished inner salvages and completely hand made. Hand applied chain along the inner hem of the jacket. The jacket has no closures. The tank closes with a hand set, painted metal zipper at the side. Couture number 30288 (or 3). Note the following: there are two areas of a slight yellowing to the front of the tank - both have been photoed. When the tank and jacket are worn together you do not notice this, on its own it is apparent in some lights but not all. There is a couple of small areas of discoloration to the inner lining of the jacket that do not show on the exterior. The jacket seems to have no exterior flaws at all.

Jacket
Sleeves: 20"
Shoulders: 16"
Bust: 19" flat across from side seam to side seam
Waist: 21" flat across from side seam to side seam
Length: 21" from neck to hem

Shell
Bust: 20" flat across from side seam to side seam
Waist: 19" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 22" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# S683

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 1972 collection was presented on just 5 models at the Oriental Club in London's West End and was Gibb's debut fashion show. In it he presented an amazing collection that drew on the colors and feeling of nature, including his signature bee motif. He went on to become one of the most influential and famous designers in 1970s Britain and his clothes were sought out and worn by the rich and famous. This ensemble is simply amazing and an absolute perfect example of his work. It is comprised of two pieces, both made of his signature, fluid Qiani jersey in a deep burgundy red. The skirt flows to the floor with curved, ribbon edge slits up each side . The waist is yoked and on the front sits a huge bee made of a variety of beads, all done by hand and then applied by hand. The top is a work of art - it is cut wide across with the sleeves coming out from the waist with extensive gathered detailed so that the drape dramatically down and past the wrist. The edges are also finished with gilded ribbon and the neckline cut wide and straight across. A second glittering bee sits on the shoulder as if it will fly away at any moment. This is a rare and absolutely wonderful piece. Excellent, museum quality condition.

The skirt is unlined and the top is lined in a matching color silky rayon through the bodice only with the sleeves left unlined. The top slips on and there are two of his signature enamel buttons spaced on either side of the neckline. The skirt closes with a side painted zipper and series of hook & eye

Top
Sleeves: approx 30" and meant to hang long
Shoulders: no defined seam
Bust: open with no side seams
Waist: open and meant to be loose at 22" flat across from side seam to side seam
Length: approx 18" from neck to hem

Skirt
Waist: 12" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 42" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2279

Reference Photos: Photographed for creative purposes by Nikki Ormerod, Styling: Nadia Pizzimenti, Hair & Makeup: Ashley Readings, Model: Constance (Plutino Models).

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

Voguepedia says of Gilbert Adrian: "In the hands of the legendary Hollywood designer Gilbert Adrian, clothes could do and say magical things. From the flower-festooned munchkin costumes in The Wizard of Oz to the elegance-defining “Gowns by Adrian” worn by screen stars like Norma Shearer, Barbara Stanwyck, and Joan Crawford—and copied by the hundreds of thousands for the humbler masses—Adrian was the definition of cinematic invention for more than a decade.....Adrian’s signature custom-retail label, founded in 1942, was wildly popular. His gowns bore distinctive names like “Dinner with a Dash of Gold” and “Shades of Picasso,” and he catered to an elite set of style mavens in Hollywood."

This black crepe dress is a fine and early example of Adrian's work. It really show his flare for the dramatic. The dress is made of an early silk moss crepe so has a wonderful drape and hang to it. It is seamed to perfection - I love the little curved seams that sit on the side of the skirt in particular! The skirt is long and lean with an additional panel cut on the angle over the inner layer. The waist is defined with a peaked banding.  The shoulders are cut to site loose and soft. It is of course that dramatic neckline that is the star of the dress with its deep open angled cut and soft draping panel above that. A very sexy and rare forties dress from a hard to find designer.

Unlined and closes at the back with the series of three set jet faceted buttons as seen. Below that is a series of hidden hook and eye at the waist and below that is a painted metal zipper. There is a touch of "seaming" lines due to over pressing at some point in its history but its minor and I am just being accurate. Considering its age and rarity this is entirely forgiveable

Shoulders: no defined seams
Bust: open and to approx 19" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Bodice: approx 19" from top of bodice to waist
Skirt: 29" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD2277

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 1958 Pierre Cardin went to Toykyo and ended up staying a month - he met his longtime muse, model Hiroko Matsumoto, who he invited to France in 1960, and made history when she became the first Japanese model to walk in the Paris collections. While there he also inked a deal with the department store Takashimaya, which led to Pierre Cardin becoming the first Western brand to be manufactured and designed specifically for the Japanese market. That collaboration still exists to today.

This is an absolutely amazing and very rare, early piece from Pierre Cardin and that collaboration. It combines the chic and simple lines we covet from Cardin with a strikingly beautiful print. The silk textile the dress itself is made of is just beyond amazing - it is hand woven and the high quality and beauty of the design is breathtaking. The palette combines a shocking pink with purple, red and a deep deep green. The shape is wonderful and flattering - a simple A-line cut with a pretty rounded collar and a zipped front. Little cap sleeves and a rounded scooped up side hem banded with the same purple silk as the collar are the perfect finish. A rare find and a sound investment piece! These early label Cardin for Takashimaya pieces came straight out of the Cardin Atelier. Excellent, seemingly unworn condition.

Fully lined through the body in a fine purple tissue silk. The cap sleeves are left unlined. It slips on the wear with a painted metal zipper at the front and hook & eye at the top of the neck.

Shoulders: 13.5"
Bust: 18" 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: 38" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD2273

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

Every Ossie Clark dress is special automatically because it is an Ossie, but when it is an Ossie done with an original Celia Birtwell print, it is even more so. I feel like really good examples of their combined work are getting harder and harder to find so having one is fabulous. The fabric used is his signature moss crepe which gives it that fabulous drape and weight that his dresses have, making them fall perfectly on that body. The print is actually painted and screened onto the fabric not worked into or woven. The colors are as bright and vibrant as when it would have been made. The dress is one of his classic designs - you just slip it on and the loose fit through the body combined with the easy to adjust tie make it instantly flattering on just about any figure. It has his round dog eared collar and buttons set down the front to show a glimpse of skin between each. An attached tie allows you to add shape. Each sleeve billows hugely above the cuff. Its fantastic. Truly a special piece and taken up a notch with the use of the pretty Celia Birtwell print. Highly collectible. Excellent condition 

Unlined and slips on to wear with fabric covered buttons and loops down the front and three fabric covered button and loops on each cuff. Attached half tie at waist. Tagged a vintage Ossie Clark UK12

Sleeves: 28"
Shoulders: 14.5"
Bust: 17-18" flat across from side seam to side seam
Waist: 18" flat across from side seam to side seam
Hips: 23" flat across from side seam to side seam
Bodice: 15.5" from neck to waist
Skirt: 26" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD2268

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

Halston is one of those rare labels that for whom the more time goes by it actually feels more relevant. It is easy to think of this piece as both a treasured collectible and a closet staple - knowing that every time you slip it on you will look and feel amazing. It has a definitive Grecian goddess feel to it combined with his signature simplicity and masterful draping. It simply slips over the head and hooks into place at the waist to create some shape while draping to perfection everywhere else. The front draped and plunges deeply but the wight and placement of the fabric and interior elastic hold it in place so that you feel safe wearing it. Over the shoulders and down the back is a single panel of fabric that creates a caped Grecian effect and incredible loops of draping down each side. They are deep enough to tease that you might get a glimpse of bare skin at the sides but cut so you never quite do. So sexy! The front high slit and way the skirting is cut also allows a flash of leg to show as one moves. Brilliantly Halston in every way and very easy to wear. Present as excellent condition but does have some small flaws that get lost in the folds - please read below.

The skirt is unlined and the top front has a double layer of the jersey. It slips on and closes with  hook and eye arranged and hidden along the waist. Elastic through the waist. Inside the top is a built in back panel beneath the draping that ends at the waist - this allows the exterior to drape as seen in the photos but to be secure on the body when actually on. There is a series of decently repaired holes sewn down the back panel. I have shown two photos - the first shows how they get lost in the folds but I have also included a photo of the fabric spread out so you can see the extent of them. It is wearable as is or you could potentially have them further repaired but it is sold as is and priced accordingly. Perhaps the teeniest of color change here and there  but this seems to be unavoidable with this particular color of jersey from this time period so is just part and parcel of its aging process. It is still a stunning and rare piece and a bargain because of these small flaws that do not impact the wearability of the gown. Because of the drape and cut the size will fti a range of sizes and the inner waist could be adjusted if needed as well.

Sleeves: 22"
Shoulders: padded and set at approx 15-16"
Bust: to 20" flat across from side seam to side seam
Waist: 15-18" flat across from side seam to side seam
Hips: open
Bodice: 16" from neck to waist
Skirt: 50" from waist to back hem though it does come up a bit when on due to the drape

Modern Sizing Equivalent: SML-LRG

Item# DD2264

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 love this Pierre Cardin dress and it might even be one of my most favorite pieces ever. It is so unusual and really shows the depths of his talent as a designer. It is intricate and complicated and yet it oozes luxurious simplicity and chicness. The multi-color pattern is worked right onto the knit and the way it is woven leaves little gaps between the weave where you can see skin peek through. It's sexy but not overtly, rather the closer you get to the girl wearing it the sexier it becomes. I love the high neckline and how that is balanced by those fabulous sleeves! Cut slim through the upper arm and the shoulder, they balloon out just above each wrist. The weave changes just below the bust so the waist is accented despite not being fitted and the skirt is a marvel of flat pleats that open to give volume when you move. The metallic thread running through the knit makes the entire thing glimmer in the light. Love it!  Excellent, appears unworn condition.

Unlined and transparent through the open weave bits. Closes with a back painted zipper. Elastic at each cuff

Sleeves: 27"
Shoulders: 14.5"
Bust: 16.5-17.5" flat across from side seam to side seam
Waist: 14.5-15" flat across from side seam to side seam
Hips: 18.5-23" flat across from side seam to side seam
Bodice: 10.5" from neck to waist
Skirt: 48" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2261

Reference Photo: Amanda Lee Shirreffs. Click here to see this look on our blog Curated >

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

This fabulous jumpsuit by one of my favorite of the British labels - the iconic and early Quorum label where Ossie Clark first began designing! Designs from this label ruled during the mid-sixties British scene and have a sexy, easy way about them. You can easily see Ossie in this particular pieces too. There is nothing like it in the way that he cut fabric - then or since. Here we have a gorgeous black jumpsuit made of his signature moss crepe and that fabric choice really allows it to move well and wear well. This one piece jumpsuit has wide cut legs, a cinched waist and a low plunging, sexy neckline and bare back. I love how the waist is cinched in with a bit of elastic gathers at each side - this makes i very comfortable and also give it a bit of a nod to earlier pieces form the thirties- a classic Ossie touch. it is amazing and one of the best jumpsuits I have had in the shop. Excellent condition.

Unlined and closes at the back with a tightly spaced row of buttons and loops. The bottom three buttons are slightly different then the others and I suspect they were replaced at some point but are a decent match. Elastic panel at each side of the waist

Bust: 14-16" flat across from side seam to side seam
Waist: 11.5-13" flat across from side seam to side seam
Hips: 21.5" flat across from side seam to side seam
Bodice: 15" from neck to waist
Pants: 45" from waist to hem
Inseam: 32"

Modern Sizing Equivalent: XS-SML

Item# DD2257

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

Galanos was known as the designer that could rival the French in terms of construction and design. He launched his atelier in 1951 and though he was never a designer that was never formally given the status of being officially deemed a couture house he certainly produced clothing with many of the hallmarks that define couture, thus giving him the status as being known as one of the "American Couturiers". Here we have a piece that a custom made, one off, piece. It is absolutely exquisite and was most likely late seventies to early eighties.

The dress is constructed with his signature nod to creating the longest lines possible so the women who wears his gowns looks supermodel tall and lean. It is deceptively simple. I cannot convey how amazing this is on person. It literally weighs ounces and was made of the finest black silk chiffon with the top edges in a fine, handmade lace that creates that dramatic fringe around the neck, shoulders and back. The front plunges to the waist and hooks to close at the base with the lace slipping over and behind the neck to suspend the dress and keep the front panels in place.The back curves down very deep leaving the entire thing bare. This tops the skirt made of yards and yards of silk chiffon - all so light and semi-transparent that you feel quite scandalous - it is like you are wearing nothing at all. It is so insanely sexy and so obviously couture upon first glance that you will literally have your breathe taken away. If you have been looking for the ultimate dramatic statement gown that is sexy but refined at the same time this could just be it. Exquisite in every way, in museum quality condition and supermodel length. Excellent, appears unworn condition

Unlined and so it semi-transparent. It closes at the front at the base of the plunge with two hook and eye and a slight overlap. Elastic through the waist.

Bust: variable
Waist: 11-13.5" flat across from side seam to side seam
Hips: open
Bodice: 15.5" from neck to waist
Skirt: 46.5" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2256

Reference Photos: Photographed for creative purposes by Nikki Ormerod, Styling: Nadia Pizzimenti, Hair & Makeup: Ashley Readings, Model: Constance from Plutino Models.

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

This was one of the highlights of the 2014 Pucci runway and though a recent piece, it is sure to  become a long term important collectible. It was seen on supermodel Rosie Huntington-Whiteley and Erica Pelosini, amongst others and is also an important piece in terms of Peter Dundas' career. Style.com said that this one one of his best collections:

Over his five years at Emilio Pucci, Peter Dundas has soaked in the house's Italian jet-set heritage and turned the show into one of Milan's hot tickets. ...... Dundas tapped into his own history, and the result ranks up there with his best collections for Pucci.....Jersey was another house signature, but back in Emilio's day it never draped quite as fabulously as it did on Joan Smalls, who wore a long brown dress that dipped precipitously in the back from crisscrossing gold chains. 

It is made of a slinky, fine light jersey and there are literally yards and yards of it in that supermodel length skirt that flows from a chained waist. Cut out circle the waist giving a sexy glimpse of skin. The halter has a gold chain running through with a double loop of chain at the back - again you simply hook it into place and it drapes perfectly over one shoulder leaving the back bare. You can also wear it as more of a halter with the weight of the chains at the back holding it in place. Extraordinary technique and draping as this fabric is extremely hard to work with.  The original price on this gown was 4570 + taxes and I would bet that given the time to become a "true" piece of vintage that its value will far exceed that and what it is listed here for. New with tags and never worn.

The skirt is a single layer of jersey and the top a double layer. It slips on the wear with a hook and eye at the side waist. Tagged a modern 36 but fits to be loose and draped so as long as the waist works the rest just drapes.

Bust: variable
Waist: 13"
Hips: open
Bodice: drapes to fit a variety of lengths from neck to waist
Skirt: 47" from waist to hem

Modern Sizing Equivalent: XS-MED

Item# DD2255

Photo of Erica Pelosini by Assunta Simone Photography. / Rosie Huntington at Amfar's 21st Cinema Against Aids Gala on May 22, 2014 in Cap d’Antibes, France. / Runway reference photo credit: style.com.

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

This Dior set perfectly symbolizes the lady who wore Dior but also wanted to feel glamorous and chic. This was made specifically for the Japanese market during the early licensing of the Dior house and is a rare find. The fabric is absolutely stunning and the color is very unusual as one normally sees a lot of subdued greys and blacks from this time period - to find a beautiful blue like this is just divine! The fabric is a beautiful boucle and has a remarkable depth to the texture. That combined with the deep blue is stunning and chic. The set itself is comprised of two pieces. The skirt actually has a light muslin sleeveless top attached to it so that it sits on the body and falls perfectly under the jacket. This was done during this time period and abandoned later as ways to cut excessive use of fabric were used more often. Styles also changed and women took off their jackets rather then kept the full suit on at all times like they would have then. Over this slips a wonderful little box cut jacket with a simple collar and pretty button detailing. I love that both the jacket and skirt have little slanted pockets with a button detail. Very striking and it is an exceptional garment that is made to demi-couture standards. Excellent condition

The jacket is lined in a hand set fine black tissue silk. The skirt has a full built in upper bodice that is made of a fine black muslin. The skirt itself is interlined in silk organza and heavier muslin in parts. The interior is all hand finished. The "dress" closes with a back painted metal zipper and the jacket closes with the buttons at the front as seen. The jacket and shell both have heavier, top-stiched edging that acts to weight the hems of each respectively. The pockets on the jacket and the skirt are functional and lined in silk. Proper finished buttonholes.

Jacket
Sleeves: 20.5"
Shoulders: 16"
Bust: 19.5" flat across from side seam to side seam
Waist: 17.5" flat across from side seam to side seam
Length: 17" from neck to hem

Dress
Bust: 16.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: 21" flat across from side seam to side seam
Bodice: 15" from neck to waist
Skirt: 25" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2251

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 2005 Miu Miu show was received with accolades by the fashion crowd and this particular show was a retail favorite. Style.com said of this show:

'"It was short (hemline-wise), sweet, and unencumbered with any responsibility for changing the direction of fashion. And that's just the way Miu Miu, Prada's secondary line, ought to stand in relation to its older, more intellectual sister collection. For spring, the younger sibling has gone crazy over early seventies geometric prints—either the brown and beige patterns typical of English charity-shop coffee sets, or Marimekko-style florals in purple, blue, and red.

......As simple and carefree as all this may seem, Miuccia Prada is also being careful to pass her best-selling ideas on to Miu Miu for another season's enjoyment. Her jewelry-as-embellishment idea is now manifest, at a more accessible price, in the encrusted beaded necklines on dresses and in the panels applied to shantung jackets. All proof that Ms. Prada is a natural fashion democrat."'

Look 36 on the runway, this is one of the stand out pieces from the show and was wait listed and photoed everywhere. It is quite beautiful in its own quirky way. The light, coated silk has a beautiful geometric design that covers its surface. The shape is kept simple and boxy so it works well over most anything. You could in theory add a belt and cinch in waist if you like as well. The length is perfect and chic. Variations of this print has been picked up on since and are still is being shown in variations on the runways of  today. A fabulous little piece. Excellent condition and was never worn.

Fully lined in silk and closes down the front with oversized, signature fabric covered, hidden snaps. Tagged a Miu Miu 40

Sleeves: 22.5"
Shoulders: 14.5"
Bust: 18" 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
Length: 39" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# C393

Reference Photos: Runway credit: style.com  /  Amanda Lee Shirreffs (see the complete blog post on this look 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.

Andre Courreges made cloth and wool versions of this cropped jacket in 1968 and repeated versions of them for his next few collections as they were immensely popular. For the 1971-72 collection he did them in vinyl and showed them over ribbed under garments - a play on ski wear. This one is done in a versatile and unusual the soft buff color that lands somewhere between a nude and blush. Courreges was fascinated with youth and his piece often reflect the same cut used in childen's wear. You can see that in this jacket with its funnel neck and cropped length. He was an early adapter in the use of vinyl, which would have been in the forefront of cutting edge textiles at the time. The use of it is an important milestone in both fashion history and in the career of Andres Courreges. The house's signature white snaps run down the front and the original Courreges logo sits on the left side. An iconic piece of fashion history that is very well documented. Excellent condition

Lined with a logo embossed off-white rayon that is attached by a series of snaps all around the edges so it can be easily removed when the jacket is cleaned. The jacket closes at the front and cuffs with large white covered snaps. I see extremely minor pin-top sized areas of flaking to the vinyl in a very few teeny areas with some minor grubbiness to the vinyl and near the neckline inside. These are almost too minor to be mentioned but provided for accuracy. if you super size the logo photo you can see the areas near the logo. The vinyl was known to flake on these because of the type of vinyl used so it is still rated as excellent as the flaking is so very minor. Tagged a Courreges size B

Sleeves: 22.5"
Shoulders: 15"
Bust: 17" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Length: 18.5" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# S679

Reference Photo: (1) Harpers Bazaar 1971 (2) Courreges Fashion Show 1972 (3-4) origins unknown (5) Cherie in a black version of the jacket  /  (6) Model in Courreges by David Bailey. Vogue, March 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.

This is a very rare, museum quality example of Gustave Tassell, who was one of the great American Couturiers. Example of his work are extremely hard to come by and most are only found in museum collections! For those not familiar with his work, Tassell won a Coty Award in 1962, was worn by Jacqueline Kennedy and designed for the house of Norell when Normal Norell died. This piece predates his work for Norell and is form the period between1959-1972 when he was running his own couture house.

Making this particular dress even a little more special is that it was owned by Loretta Young. Inside the lining of the dress is a hang tag with her name on it. I have no other provenance then that and have had this in my archives for years and years. At the time when I bought it the owner had said that it was bought an an auction and I had no reason to not take that at face value. Oscar winner, Loretta Young was a beautiful actress who had a long standing film career. She was reputed to have had an affair with Clark Gable and became a household name with her TV show The Loretta Young Show. I believe this dress to have been from or about the time period of her TV show (1953-61)

The dress itself is extraordinary. It has a sculptural feel to it and is almost regal in its line and cut. The heavy ribbed silk fabric is showcased to the extreme and indeed it seems the fabric becomes a design element itself. Off the body it seems even more structured and retains all the wonderful shape you see here. On the body those strict architectural influences lines somehow transform and become easy to wear. The bodice skims over the body and molds to a ribbon highlight waist. The skirt is just a masterpiece of construction with deep pleats set between the wide panels of fabric. Pockets lie hidden under the fold at the front for an extra bit of chic. It is a rare dress with a fabulous Hollywood pedigree and even beyond that, is a stunning example of a great American Couturier. Excellent condition

Fully lined through the bodice in a fine, high grade, hand set, cream silk and is interlined through the skirt with a silk organza and then has in inner silk skirt for the lining. It closes with a back painted, hand set, metal zipper. Hand finished. The silk satin belt is partially attached to the waist and snaps into place around the waist where it is not, it closes under the bow with hook & eye. Each pocket is lined in a high grade silk.

Sleeves: 21.5"
Shoulders: 15"
Bust: 17" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Inner skirt hips: 20" flat across from side seam to side seam
Length: 37.5" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD2241

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

It is always lovely to have a well documented dress in the shop and it gets even better when the twin of that dress is worthy of being held in the museum collection. When that museum is FIT in NYC you know you have a great investment piece on your hands. The fact that it is as relevant now as it was back in 1994 - maybe even more so - and that it is as sexy as hell too, is just icing on the vintage cake. Veronica Webb walked the runway in this and we have included photos and the runway clip below. My client is also sure it was photoed for Vogue that season but we have not turned that up (yet). The dress was so avant garde in its day. Donna took scuba diving fabric - literally - and had it made in bright neon pink to construct this dress. When you see it in person and off the mannequin it looks like a dress made for a doll but it will stretch even while hugging you in. The top is fitted and acts like a corset to push and hug your curves to the extreme. The skirt is fabulous flared and short to show off miles of leg. It is extraordinary.

Perhaps the text from the FIT entry of their version describes it best: "The tank-style bodice of this stylish Donna Karan neoprene dress maintains the comfort and “all-in-one” convenience typical of wetsuits made from the same material. Many designers of the 1980s and 1990s were inspired to experiment with unusual, “techno” materials."

Unlined and zips to close in the back. Tagged a size 2

Bust: 13-15.5" flat across from side seam to side seam
Waist: 10-12.5" flat across from side seam to side seam
Hips: open
Bodice: 14" from neck to waist
Skirt: 15.5" from waist to hem

Modern Sizing Equivalent: XS but will stretch to fit a smaller "SML"

Item# DD2240

Runway reference photo credits: unknown. / Museum photo from The Museum at FIT by Irving Solero. / Amanda Lee Shirreffs photos

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 love both the chic little lines of this dress and its amazing color! In person the color is a true bright vivid tomato red and really makes a statement. The choice of fabric adds to the depth of color - its a lightweight wool with a bit of texture through the weave and it really holds that amazing red perfectly. From the Miss Dior line, the dress is constructed to extremely high standards - all hand finished and properly done with every stitch. It is cut on a flared A-line and has a nice sharp, chic feel to the cut while still feeling fresh an modern. It is cut to be more fitted through the shoulders, sleeves and bust and then skims out and over the waist and hips. The fine light wool holds this flared shape beautifully but is not heavy or bulky at all. Love the button detailing that runs up the neck to the high collar. Really a jewel. Excellent condition

Fully lined in a red silk and the interior is hand finished. Closes with a back, hand set painted metal zipper. Note that it is more of a true blue red in person rather then the orange under-toned red it photoed as.

Sleeves: 20.5"
Shoulders: 14.5"
Bust: 18" flat across from side seam to side seam
Waist: 16" 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: XS-SML

Item# DD2235

Reference Photo: Amanda Lee Shirreffs (see the complete blog post on this look 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.

An amazing and well documented Pierre Cardin dress from the 1968 collection. In the photos I have oncluded you can see the same dress in the light grey version from the photo taken at the runway show that year. I have also included the ad run in L'Officiel Magazine that year clearly showing the same dress in grey there as well. This gorgeous little mod shift is constructed of the prettiest green fabric with white accents at the collar and cuffs. His signature white appliques are added tot he front skirt making it instantly recognizable as a Cardin! The color alone makes this special and collectible and I personally love the green - it is so pretty and chic. The dress itself has that simple architectural cut as typical of Cardin pieces. The A-line shape flares out prettily from the shoulders with the waist left undefined. Truly amazing and a work of highly collectible art. Excellent, museum quality condition.

Fully lined in a green silk and closes at the back with a painted metal zipper. Note that there is no change in color - any effect you see is lighting from the camera only.

Shoulders: no defined seam
Bust: 18" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 36" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD2231

Ad campaign photo as seen in L'officiel de la mode n°563-564, 1969, Page 188 / 189. Second reference photo credit unknown.

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

A rare and stunning Thea Porter Abaya robe whose collared front dates this to approx 1978-1980. It is quite beautiful with its stunning mix of white and silver. The caftan is of course perhaps her strongest signature piece and after the recent, first ever exhibit of her work at the FIT Museum in London (of which I am proud to have lent numerous pieces from my archives to) I am very pleased to be able to offer such a strong example of her work here. Yards of almost weightless, flowing, fabric were used with a combination of a silver colored embroidered yarn lace, a silk silver brocade, silver silk satin and last a metal encrusted white silk chiffon with embroidered roses. It is interesting to note that the chiffon pieces have hammered silver applied to them in the manner of the assuit shawls from Egypt. it was deliberately left unlined and it is not until it is on that you realize that not only are the little white chiffon bits transparent but the lace parts are very subtly so as well giving it a sexy feel. The patchwork feel and fabric layout is a work of art! Most remarkably the back is gathered and ruched and I love the little cluster of pearls that sits at the base of the rectangular panel there. Thea was known to hunt antique stores and markets in far off places around the globe and then incorporate and use what she found in her designs and you can feel that influence with the array of fabrics used here. A very special piece, very rare and very special. Excellent, museum quality condition

Unlined and slips on to wear. Closes at the neck with fabric covered buttons. Minor scuffing to the satin from improper storage I believe as it appears to have never been worn.

Width: 58" flat across from side seam to side seam
Length: 56" from neck to hem

Modern Sizing Equivalent: One Size Fits All

Item# DD2226

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 woman behind the Maggy Rouff label was Maggy Besançon de Wagner and she started her own label in 1928 after a working at the Haute Couture house of Drecoll. The Maggy Rouf house joined the Chambre de commerce et d'industrie de Paris in 1929 and continued to produce Haute Couture until 1965. She developed a staunch following for her gowns and one of the mainstays of her design was that each gown have a main focal point. Draping techniques, as we see portrayed magnificently in this gown, were a signature element.

I spoke to the person who handled the sale of this dress for the original owner and this was custom made for her and most likely dates to the 1958-59 season. The gown is tremendously beautiful and has all the hallmarks of Haute Couture. It is entirely made by hand and the fabric a weightless red silk chiffon. It is heavily gathered and rushed and seems to wrap around the body with a strong panel of draping down the front and hand placed seamed drapes and curved seams that wrap the dress around the body and up and into this center panel.  The back is magnificent with a sweep of silk at the hem to create a trained effect resulting in a beautiful cascading column of shimmering silk sweeping across the back skirt. There are no embellishments to the gown and indeed it needs none with the overt use of draping. Inside is a full boned bodice with garter belts attached as well as a series of inner hooked stays running down the back to hold the dress in place. The fitted silhouette and red silk make for a very sexy gown. Presents as excellent condition but please do read the description notes.

There is a complete boned inner foundation garment built in with a series of hooked stays that run down and behind the zipper. It also has garter belts built in. There is a minor "grubbiness" to the fabric along the edges of parts of the side bodice, hem and zipper area (hidden once the train is in place) and very minor surface scuffs/thinning to the fabric here and there with some small minor ones on the skirt lost in the folds. Hand rolled edges. I see two small well done repairs near the hem of the skirt at the back and a repair to the seam of the exterior payer of the skirt under the zipper. These get lost in the folds and excessive fabric there. The fabric along the edge of the zipper is fragile and starting to degrade a bit. It could be worn with care but it at the beginning stages of becoming fragile. Completely made by hand as Haute Couture demands and remarkable construction.

Note that this one is sold as found and as a final sale

Bust: 13.5-16" flat across from side seam to side seam
Waist: 10.5-12.5" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 58" from top of the straps to hem

Modern Sizing Equivalent: XS-SML

Item# DD2225

Reference Photos: Amanda Lee Shirreffs - Click here to see her original blog post on this look >

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 phenomenal vibrant pink silk brocade evening gown is undeniably exquisite in its cut and design. The sheer sexiness of the cut combined with that beautiful fabric combine to create one of the most beautiful gowns I have ever had pass through my hands. The fabric is a beautiful weight silk that has just enough weight to it to hold the shape and volume the piece requires. The front has a sweetheart neckline and is strapless while back is completely bare right to the waist curving around the body in soft line from the corseted front. The interior has a full boned and cupped foundation garment built in with wide elastic banding that hooks into place so you can feel secure in the daring design. The skirt is cut with a dramatic and very full cut that swings out from the waist and is also a touch longer and has more fabric in the back for maximum impact. It is tremendously full with yards and yards of fabric but sits perfectly once one. Halley started at Charles James who said of the young designer that he "was a genius at draping". By the time he opened his own atelier in 1966 he was in full form and was a master cutter as well. His work is on par with couture and each piece is hand finished and has all the lovely high end details one looks for in proper couture. He is without doubt one of my favorites and I treasure each piece I can acquire. Excellent, museum quality condition

The bodice has a full built in corset at the front which has its own elastic band that hooks into place around the low back. The skirt is unlined with ribbon edged seams. I suspect that at some pint the dress has been altered around the waist and perhaps the back was taken out. It closes at the back waist with an overlap of fabric that secures with velcro - this presents perfectly fine once on and the sash wraps around ad covers all of this area from site anyway. Under that at the skirt waist is a hand painted, metal zipper. Hand finished

Bust: No true side seams but will fit an A-small C cup
Waist: 11-12.5" flat across from side seam to side seam of the elastic band inside
Hips: open
Bodice: 14" from top of bodice to waist
Skirt: 42" from waist to front hem, and 46" to back hem

Modern Sizing Equivalent: XS-SML

Item# DD2223

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 set from the fall 2003 collection is gorgeous. This print was done in both look 21 and 22 and I from the photos I believe it to be look 22. It is done in a bright print of green with vivid pops of color. There is and nod to the East in the design elements of the pattern that covers the silk that is quite beautiful. The two piece set consists of a top that can be worn as a top or layered as a light jacket and a long skirt that has a beautiful cut bias cut and draped detailing. The top/jacket is cut to be worn loose over a tank or even just a bra and is semi-transparent. The sleeves are cut with a long and skinny feel and each has a tie that runs up its center to ruche and gather it. The front has this same gathered effect that allows you to adjust how it falls and closes with matching silk fabric covered buttons at the center chest, set so it plunges down the front. You can also leave these open and simply tie it at the base of the fabric ties that run down the front. The skirt flows to the floor with a silk satin portion that sits around the hip. Once past the hip this changes to gathered draped panels of silk chiffon that open the skirt to add an interesting volume and movement that gives a nod to the bustle. It is absolutely beautiful and unusual. Excellent condition

Sarah Mower said of the collection for her Vogue review; "Only one man on earth could possibly whip up a collection of fetish queens in Kabuki face paint, going crazy in multicolor Asian-slash-eighteenth-century clothes. Hello, John Galliano! Up to his canny method madness at Christian Dior yet again.“It was hard-core romance! Sex robots!” was the sound bite Galliano delivered backstage to describe his ready-to-wear version of the conceptual mayhem he wreaked at Dior’s couture collection in January. Back then he’d just come back from a trip to China and Japan, scandalizing many critics with the extra-outsize scale of his box-shaped, 3-D cutting experiments and mind-blowing kaleidoscope of East-West references."

The top is unlined, semi-transparent and closes with four tightly spaces, silk covered buttons at the center chest. Ruching runs through each arm and the front of the top and this can be adjusted for different effects. The skirt slips on with elastic set through the waist and is unlined. Only the skirt is labeled

Top
Sleeves: 24"
Shoulders: approx. 14"
Bust: 14" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Length: 22" from shoulder to hem

Skirt
Waist: 14" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 38.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD2194

Reference Photos: (1-3) Christian Dior F/W 2003 Look 21 (Model: Alyssa Sutherland) & 22 (Model: Monica)  /  (4) Nordstrom ad, Fall 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.

This amazing and rare, early Donald Brooks jumpsuit is the absolute epitome of the best of his couture level work. It is one of the best pieces of his that I have seen outside of a museum. Any of the big name super models of the time would have easily graced the pages of Vogue in this jumpsuit. The fabric is almost beyond comprehension. The base is a cream silk crepe onto which are thousands upon thousand of individually sewn iridescent large sequin paillettes. These literally cover every inch and create a moving, sculpture over the body as they fall and move with an accompanying whisper. The combination of color, the paillettes and the cut make you instantly seem taller and leaner. The top is a high halter that wraps around the neck and is cut to leave the back almost completely bare. The pants flare as they reach the hem and the wide legs make it appear that you are wearing a gown until you move. The base fabric is a very light silk and the entire thing is shockingly light despite the heavy coverage of the large sequin discs. Based on the label and similar pieces with extraordinary finishes held in Museums around the globe I believe this to be from or around 1967. What a beautiful piece and extraordinary, once in a lifetime piece! Excellent condition

Fully lined in a scarf weight cream silk and the paillettes are attached to a cream silk chiffon by hand. The top closes behind the neck with hook & eye and there is a low back painted metal zipper. Light boning through the sides and a hook & eye inner waist stay. Though there may be the occasional missing sequin I see no bare areas. There are literally thousands of discs covering the jumpsuit. It is even better in person!

Bust: 16" flat across from side seam to side seam, though the open back will allow for a larger cup size
Waist: 14.5" flat across from side seam to side seam
Hips: 18-19.5" flat across from side seam to side seam
Length: 57" from neck to cuff
Inseam: 26"

Modern Sizing Equivalent: XS-MED

Item# DD2193

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

At about the 3:10 mark you can catch just a teeny glimpse of this dress as it strutted down the runway behind Linda Evangelista. This is one of my favorite collections and I have had pieces from it before and have loved each - including this one. This dress is just classic Chanel with its navy and white combination and was well documented as you can see by the reference pictures we have added. It is made from a cotton waffle weave so has a touch of a nautical feel to it while still in keeping with Chanel's lady like appeal. It's a simple shape - buttoning down the front with a slight suggestion of the waist and a soft flaring out of the skirt. The four pocket flaps at the front are decorative and their white trims pick up the collar and sleeve edges perfectly. I love that each of the 14 buttons have not only that famous double C logo but a finish on them that is a suggestion of the waffle weave on the fabric. Excellent condition

Unlined and buttons down the front. The pockets are decorative only. Tagged a 38 but please check the measurements listed.

Shoulders: no defined seam
Bust: 17" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 40.5" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD2186

Runway reference photo of Yasmin Le Bon credit unknown. Second reference photo credit unknown.

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 little silk coat is from the London Boutique and is numbered making it a custom or special order. This would have been based on the Dior Haute Couture collection. You can clearly see the same, unique button technique in the several refernce photos included here. The Fall of 1961 marked the end to Yves Saint Laurent's career at Dior and the beginning of Marc Bohan's nineteen year reign at the house of Christian Dior. His first show was a triumph and was met with great acclaim. New York Times reported pandemonium - "the shouting, clapping, surging mob at the press showing caused chaos in the elegant salon. Monsieur Bohan was kissed, mauled, and congratulated. Chairs were toppled."

This coat is wonderful. It is made of a rich silk that has a raised embroidered pattern giving it a 3D effect. I have tried to capture the fabric from the side so you can see how it is raised. In person the color is richer and deeper and has a real lush, rich feel to it. Woven through the cream silk and silk thread are defining lines of gold thread that really define the design on the silk and give it an added feeling of luxury. The coat is cut neat and slim with a notched collar and lean sleeve. It closes off side with those signature frog knot button combination of this collection. Two slim panels of fabric give definition at the front waist and faux pocket flaps lie low on the hip accenting the flared bottom panels. The back is left simple and neat with the attention given to the cut and line, allowing that amazing fabric to take center stage. This one is truly luminescent in person and you will fall in love instantly! Excellent, museum quality condition. It appears unworn.

Fully lined in hand set silk taffeta. Faux pockets on each hip. Closes with the two large frog knot button combinations offset at the front.

Sleeves: 20"
Shoulders: 14"
Bust: 17.5" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Hips: 19.5" flat across from side seam to side seam
Length: 38" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD2177

Reference photos: Dior 1961 L'Officiel 1961 / Christian Dior Couture Pumpkin Wool Boucle Suit French, Fall-Winter 1961, Doyle New York. / unknown.

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 extraordinary dress dates to the 1966 collection based on the similar fabric treatments I have found from two other dresses from that collection (pictured here). It is from the Dior London Boutique and numbered so would have been a special or custom order. It is a wonderful example of the mod feel of that era and one of the best sixties dresses I have had. The base fabric is a silk with raised circles set side by side across the entire dress. They are each slightly quilted and padded so have a 3D effect. At the center of each is a second circle of silver thread making the entire dress gleam in the light. The fabric in between the circle is actually a fie chenille and each row of the yarn has subtle colors within its thread giving it little pops of color here and there. The collar and around each sleeve has been finished with beads and sequins - applied to follow the circular pattern underneath in a 3D pop of glitter and glamour. A wide neckline and simple A-line shift are the perfect finish to this charming and wonderful dress. Excellent condition.

Interlined with a white silk organza. The inner seams are finished and the inner hem ribbon trimmed. Hand applied beads. There are some very faint storage marks here and there and a couple of missing sequins and beads but nothing that truly detract form this beautiful example of Dior in this time period.

Shoulders: 15"
Bust: 17.5" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: 19.5" flat across from side seam to side seam
Length: 34.5" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD2176

Reference photos: Jean Shrimpton in Christian Dior / credit unknown.

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 and coat set in a rich cream silk is extraordinary. After much research I believe it to be based on the Spring 1960, Yves Saint Laurent for Christian Dior collection. You can see a striking similarity to the cut, collar and buttons of the sleeveless Haute Couture version in blue photo from that collection. The other cream Haite Couture dress from that same collection uses the same front button treatment but on the top whereas here it was done on the bottom portion of the dress. The set here is from the Modele Original line which would have been custom made based on the Haute Couture presentation and special ordered through the London store. It is not unusual to see variations and small changes from the runway line in these and it still retains the strong lines that Yves was after with his ground breaking collection that season.

The coat and dress have never been worn and in fact still retain all original tags which is quite rare. It is numbered and entirely hand finished and extremely well made. The inner dress is a shift shape and a larger size which is very unusual to find. A panel of silk runs down the front and is seamed along each edge. A double row of buttons are placed at the waist and low hip area. Each button meticulously covered in a matching silk and each button hole properly finished. The coat is cut with the volume that the era and Yves dictated where in fashion. A neat small collar sits above large silk covered buttons. The seams are cut gracefully on a curve and pockets are hidden along them. The back has a great swoop of volume and fullness. It is wonderful! Presents as excellent condition and has all original tags. Please read condition notes on some small flaws

 Both pieces are lined in hand set silk. The dress closes at the back with two painted metal zippers - one set on the interior silk lining and the other on the exterior dress. The coat buttons to close and has pockets on each hips. There are a couple of small storage that are faint and may come out with additional cleaning. A small area of splitting on the fabric at the collar - all these tiny flaws are pictured. Otherwise in Museum quality and it is really fabulous.

Coat
Sleeves: 20"
Shoulders: 14.5"
Bust: 23.5" flat across from side seam to side seam
Waist: 24" flat across from side seam to side seam
Hips: 26" flat across from side seam to side seam
Length: 40.5" from neck to hem

Dress
Shoulders: no 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: 21.5" flat across from side seam to side seam
Length: 41.5" from neck to hem

Modern Sizing Equivalent: MED-LRG

Item# DD2175

Reference Photos: Yves Saint Laurent for Christian Dior, Spring 1960 / Christian Dior, Spring 1960, photo by Guy Arsac.

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 woman behind the Maggy Rouff label was Maggy Besançon de Wagner and she started her own label in 1928 after a working at the Haute Couture house of Drecoll. The Maggy Rouf house joined the Chambre de commerce et d'industrie de Paris in 1929 and continued to produce Haute Couture until 1965. She developed a staunch following for her gowns and one of the mainstays of her design was that each gown have a main focal point. Draping techniques, as we see portrayed magnificently in this gown, where a signature element.

I spoke to the person who handled the sale of this dress for the original owner and this was custom made for her to wear to a New Years eve party - around 1958 or '59. The gown is tremendously beautiful and has all the hallmarks of Haute Couture. It is entirely made by hand and the fabric a rich, heavy weight, champagne silk satin. It is strapless and seems to wrap around the body with soft suggestions of draping down the front and hand placed seamed drapes and curved seams over the bodice.  The back is magnificent with a double layered training of fabric that attaches across the waist and hip line in a complicated series of hooks and snaps, resulting in a beautiful cascading column of shimmering silk sweeping across the back skirt. It is highlighted with little swirls of hand applied teeny tiny silver sequins for an extra bit of glimmer. Inside is a full boned and net bodice as well as a series of inner hooked stays to hold the dress in place. Where the skirt folds over itself there is actually a bit of a dip, cleverly hidden under the back training, but you will get a glimpse of leg when you sit or move a certain way - a very subtle sexuality. Presents as excellent condition but please do read the description notes.

There is a complete boned and net inner foundation garment and a series of hooked stays that run down and behind the zipper. There is a minor "grubbiness" to the fabric along the edges of parts of the side bodice, hem and zipper area (hidden once the train is in place) and very minor surface scuffs to the fabric here and there but nothing that stands out as a large flaw. Completely made by hand as Haute Couture demands and remarkable construction.

Bust: 16.5" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Bodice: 10.5" from top of bodice to waist
Skirt: 42.5" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2172

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 2006 Miu Miu show was received with accolades by the fashion crowd and it was really this particular collection that made Miu Miu into one of the major players. Style.com said of this show:

'"To make Miu Miu more special and important" was Miuccia Prada's post-show explanation for taking her diffusion collection to Paris. And special the small Sunday afternoon presentation at the famous Left Bank restaurant Laperouse was....The clothes, too, were elevated, thanks to what the designer described as couture touches: Silk was photo-printed with still lifes that resembled those on the eatery's walls, brocade was hand-painted with fleur-de-lis motifs, and the arms of techno-fabric shrunken jackets came in fox.

The Miu Miu girl, Prada said, is the same as her big sister, only a little more angelic. There was a youthful innocence to the models' white eyelashes, their schoolgirl uniforms, and their impossibly brief lampshade skirts....Another way the collections related was in Miu Miu's newly luxe, expensive-looking fabrics.'

This is one of those lampshade skirts and it is quite beautiful. A woven brocade has a beautiful design that covers the front. The back is kept a simple back. The shape is fabulous with a cinched in waist and fullness through the hips with lots of leg allowed to show with its shorter length. You can see how this silhouette has been picked up on and still is being shown in variations on the runway today. A fabulous little piece. Excellent condition

Unlined and closes with a back hidden zipper. Tagged a 42

Waist: 13.5" flat across from side seam to side seam
Hips: 24" flat across from side seam to side seam
Length: 22" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# S638

Reference runway photos from style.com

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

Some pieces still have the ability to make me catch my breathe with a first see them and this Pucci silk jersey jumpsuit is one that did. It is an absolutely gorgeous Pucci piece with a bold and classic Pucci color palette in purples, pinks and blues. It is made out of his signature lightweight silk jersey. This fabric choice makes it comfortable to wear and perfect for tropical temperatures and sultry night. The sleeves are cut slim and the neckline scoops over the bodice. The waist is defined by his signature contrasting border and this tops those fabulous wide legged pants. Each pant is cut wide and full with a clever pleat of fabric running down the front that conceals the pants so when you are standing it appears that you are wearing a skirt. This is a classic Pucci silhouette that is instantly recognizable and very sexy despite it covering you from head to toe. The print and bold colors all work with each other beautifully and this is a piece that will never go out of style or seem anything but appropriate no matter if worn for day or evening. It is a perfect example of what the best Pucci's designs are all about! Excellent, museum quality condition.

Unlined and closes with a hand set, back zipper. 100% silk jersey and does have some stretch. Tagged a vintage Pucci 10 but please check actual measurements as it these run far smaller then their modern size equivalent.

Sleeves: 21" approx.
Shoulders: no defined seam
Bust: 15-19" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: open
Bodice: 14" from top of bodice to waist
Pants: 42.5" from waist to bottom hem of pant legs
Inseam: 27"

Modern Sizing Equivalent: XS-SML

Item# DD2145

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

Double breasted and with wide lapels and a chic cut, this Normal Norell couture coat is a classic that will never go out of style. Norell was particularly known for his meticulous cut, fit, and use of quality fabrics.He made clothes that lasted and this coat is proof as it looks as fresh as the day it was made. The cut of this coat is beautiful. It skims the body and flatters. The fabric choice of a wool whose combination of black and white fine ribbing give it the appearance of a heather grey, softens the bold and simple line and give it length and leanness. I love how the wide leather belt creates a strong contrast and shape. The big, bold buttons add the perfect detail to balance the lone the belt creates. It is sharply tailored and has an almost manly cut. It is immaculate in its construction and is a stunning example of why Norell is considered one of the great American couturiers. Excellent condition and appears unworn

Fully lined with a handset, grey silk taffeta. It buttons to close as seen and has its original leather belt that is stamped with the designers name. Top set pockets on each hip. Each cuff closes with three buttons that are functional. All the button holes, including those on the cuffs, are properly finished.

Sleeves: 22"
Shoulders: 15.5"
Bust: 20" flat across from side seam to side seam
Waist: 18.5" flat across from side seam to side seam
Hips: 22" flat across from side seam to side seam
Length: 41" from neck to hem

Modern Sizing Equivalent: SML- MED

Item# C384

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 1972 Zandra Rhodes was visiting New York on a regular basis and was good friends with a couple named Donna and Jo Lomardo. The three of them would often go antique hunting and on one such foray Zandra found a shell covered wicker basket and it is from this little object that her entire 1972-73 "Shell" collection was born. Here the shell design in hand painted onto a rose colored pink silk chiffon dress to great effect. It has her signature cut with an inner and outer dress layer over each other in a delicate swatch of silk. The sleeves on the exterior layer are cut wide and right from the waist in an almost caftan or kimono feel. The neckline dips and is edged in a pretty spray of pink pearls with a cluster of pearls adoring the end of the ties at the neck. More beads and pretty shell shaped paillettes adorn the front. The waist is caught up in an elastic and then the skirt sweeps to the floor in a cascade of feather light silk. It still has its original sail satin belt that you can use to cinch in the waist and add further shape. The particular pattern was immediately embraced by women worldwide and Princess Anne wore the finishing wedding dress piece from this runway show for her official engagement photos. Rare and very special. Excellent, museum quality condition and appears unworn.

Fully lined in a matching pink silk chiffon except for the shoulders and sleeves. The dress has an elastic waist and slips on to wear. The sash ties at the waist (and the dress looks equally well without it if you prefer it that way). The bodice is embellished with pearlised shell-like beads and other beads. Hand finished throughout and the fabric itself is entirely hand painted.

Shoulders: no defined seam
Inner dress bust: 16" flat across from side seam to side seam
Waist: 13-17" flat across from side seam to side seam
Hips: 26.5" flat across from side seam to side seam
Bodice: 17" from top of bodice to waist
Skirt: 35" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2142

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