The House of Givenchy was founded in 1952 by Hubert de Givenchy. He has always been strongly associated with the work that he did dressing Audrey Hepburn but his range was incredible as a designer behind that relationship with her. Some of my personal favourite vintage pieces over the years have been from his work. His Haute Couture pieces are always amazing to find and this wonderful dress is an extraordinary example of his couture work during this time period. It is completely made by hand to Haute Couture standards and the workmanship and craft out into this dress is extraordinary. This is also the actual runway sample and you can see its near twin in the reference photos that we have added here that would have been in the same grouping as this one, which makes its place in fashion history even more special. As good as the dress is on the dress form you can see how it transforms even further on an actual body. This is true Couture and it is fabulous. I love it. 

What a beautiful piece of couture. The bodice of the dress is made from a black silk with a slight sheen to the finish and the fabric has a touch of weight that allows it to hold the shape that you see. For the skirt he used a black velvet with a thick pile finish and this fabric choice also really allows it to hold those beautiful lines that you see in the photos. Its beautiful shape is almost sculptural and it is a testament to the level of workmanship that you only see in true couture pieces. The bodice buttons to close down the front and the buttons run all the way up to the neckline. Each button is a thick circle of black with a glass rhinestone set inside. The neckline has no collar and it is just a simple, elegant swoop around your neck. The bodice has vertical darts so that it follows and accentuates the curves of the body. It narrows in slightly at the waist and then curves out and over to the top of the hip below the natural waist. A ribbon is tacked at the back and then ties on the front to give the dress the same look as how it was shown on the runway. The sleeves are amazing. Each is cut on a curve to follow the shape of the arm in the traditional manner of making a sleeve. They are set into the shoulders with a beautiful series of soft pleats so that you get a bit of volume at the shoulder. There is stiffened tulle just inside the edge of the shoulder for shape and this lets them puff out slightly around the upper arm and then it narrows down to their ends.The skirt has some built-in fullness around the inside of the upper hip that allows it to lift slightly off and away from the body. There are also weights that are set all around the inner hip so that it sits perfectly on the body once on. The skirt curves down and inwards from there. The skirt at the front is cut on a curve that swoops up at the centre so that you see a flash of leg as you walk or sit. The back is fuller and it also falls a touch longer so you get a beautiful curving line from the side. The sleeves are works of art. Each is detailed with hand applied prong set glass rhinestones in red green and clear to form a stunning red flower with trailing leaves that run over and down the outer edge of each sleeve. Little hand cut velvet bits are hand applied in and around the flowers to give them depth. The rhinestones catch the light beautifully. It is incredible. These have all been added one by one by hand and the entire dress is completely hand made to couture standards. I have taken some detail shots of the interior seams for you to see the fine Haute Couture workmanship inside. It is an incredible piece and beautifully made. Excellent condition with a small note below

The bodice is unlined and the skirt is fully lined in a black silk organza. Built in panniers around the hip area with weights that I have photoed. It closes down the front with the buttons as shown and the skirt snaps into place under that. A little hidden set snap is set on each cuff. Hand finished throughout. The proper runway sample tag is present. One rhinestone is broken but it is the button that lies under the ribbon when it is tied. Please see the photo after the sample tag. Some of the seams show minor stress. Made to Haute Couture standards with a tremendous amount of detail put into its construction.

Sleeves: 25" and 14" aroid the upper arm. 6.5" around the wrist
Slightly inset shoulders: 14.5"
Bust: 16-17" flat across from side seam to side seam
Waist: to 13" flat across from side seam to side seam and meant be cinched with the ribbon
Seam across top of hips: 15" flat across from side seam to side seam
Natural hips: open
Bodice: 20" from the neck to the seam at top of hips
Total length: 41" from neck to shortest part of the front hem, 58.5" to the back hem with 2" turned under the hem

Modern Sizing Equivalent: XS-SML

Modern Sizing Equivalent:

Item# DD4562

Reference Photos: Givenchy Fall 1978 Haute Couture Advance.

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This was Look 54 of the resort collection and one of the best of the evening pieces from that collection. It was shown in black for the collection and then was also produced in this spectacular all red version for the shops. I love Clare Waight Keller's time as Creative Director for the house. Even though her time there was short there are many really stellar dresses that came from her time there and this is on of them. It is a dress that will only gain in importance as time goes by and it is a definite show stopper.

Clare said of the collection that year “There’s a powerful woman in there that I really love; she’s a very strong character who loves a strong shape—something that gives a real sense of fashion.”, and in the Vogue review of the resort collection, fashion journalist Amy Verner mentioned the black version of the dress in particular along with another comment from Clare; "This marks the first season since the passing of Monsieur de Givenchy in March and Waight Keller hinted that a more intentioned homage might be forthcoming. In the meantime, the collection’s evening looks—specifically the long-sleeved black dress showered with silver embroidery, and the gradient celadon and rust plissé lamé gown—further the couture spirit we’ve seen most recently at the Met Gala and at Cannes. “It’s a real joy to be able to work at both ends of the spectrum,” Keller said. “It’s what I believe in: everything from the really simple everyday to the absolutely fantastic and fabulous.”

The dress is amazing. It is made out of a light weight red crepe through the body mixed with a silk faille for the inset on the lower skirt and silk chiffon for those amazing sleeves. There is also the addition of the teeny tiny sequins and beads at the neck. The red is gorgeous and it is that vivid true red that will flatter most skin tones. The the dress is cut in a long minimalist sheath that widens out softly as it near the hem. The neckline is scooped and the dress is meant to skim over you from bust to hips before it starts to do that soft flare out on the lower skirt. The upper portion of the bodice is finished with vertical rows of tiny red sequins topped with tiny round red seed beads. These are set across the shoulders and then angle down to a point. The lower skirt is finished with a panel of silk faille that is just a touch of a shade lighter than the crepe fabric. This runs across the full front of the skirt and angles up on an angle so that it is the opposite of the angle of the sequins at the neck. This is a very subtle detail that adds beautiful impact to the dress. The sleeves are the absolute star of the show. Starting at each shoulder a silk chiffon caped sleeve Falls over the top of your arm and then widen out to cascade all the way to the hem and slightly passed. They are open underneath so this gives them the ability to catch the slightest bit of air in billow out around and behind you when you move. It's the perfect touch of drama that softens the rest of the dress. All this extra detailing shows the high quality in making this. The dress appears to have never been worn and it is in its original extra long supermodel length. It is absolutely amazing  and the dress originally retailed at just under the 9k mark. It appears to have never been worn or worn very little. Excellent condition

Fully lined in a red silk and closes at the back with a hidden set zipper. The address is in its original length and appears to have never been worn. Tagged a modern Givenchy 36

Sleeves: 63"
Slightly inset shoulders: 13"
Bust: 17" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 60" from neck to longest point of the hem

Modern Sizing Equivalent: XS-MED

Item# DD4378

Reference Photos: (1) Resort 2019 Givenchy, Look 54.  /  (2) Credit unknown.

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I am always thrilled to find a really great Emilio Pucci piece. The truly great ones are getting very hard to find and this set is fabulous. By the 1960s, the time period that this set is from, Pucci was a well established world-wide phenomenon. Hollywood stars like Marilyn Monroe, Sophia Loren and even Jackie Kennedy were huge fans. all of the jet society and Palm Beach women were wearing Pucci. This was the heyday of the label and the pieces are some of the best ever made. For all of the many attempts since to catapult the label back to the height of its glory, the days when Emilio himself oversaw the label and designed the prints will always be the most special to me. 

Both pieces are made out of one of his signature cottons in two different weights. The skirt is made out of a thicker cotton that allows it to hold its shape and then the top is made out of a more cotton voile that is light and easy with thicker cotton used for the borders and cuffs. Like his silk jerseys this was a fabric that he preferred because of the way it held colour. Both the skirt and the top are screened with one of his custom prints that he has laid out onto the fabric in a very deliberate way to highlight the cut and line of the pieces. An explosion of tiny pink flowers in fronds of grass cover the set from head to toe. I love that you can wear the pieces together or mix and match them with things you already own. The sleeves on the top are long and cuffed so that they pouf out slightly over the cuffs once on. The collar is notched and it buttons down the front with matching fabric covered buttons. The collar, down the front, around the hem and around the cuffs are all edged with a contrasting border. The fabric of the cuffs and collar is a little heavier weight than the lighter cotton of the body of the top. It is also has this tiny edging of a solid pink and I love this extra bit of contrast. You can wear the shirt out or tuck it as we have in most of the shots. The skirt wraps to close and then buttons down one side with matching fabric covered buttons. We see that same contrasting border run around the waist, behind the buttons and around the hem. The fabric of the skirt is a thicker cotton that does not have any transparency. I love how there is a second border just above the hem for a little extra detail. It falls from the waist and and then over the hips in an easy way before falling to the floor. Both pieces are absolutely gorgeous in this colour combination and print. Both pieces appear to have worn very little if at all. Excellent condition.

Both the top and the skirt are unlined and close with buttons as seen. Each cuff buttons to close. Both pieces are tagged a vintage Pucci 12. 

Top
Sleeves: 22" and 13" around the upper arm
Shoulders: 15"
Bust: 17.5" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Bottom seam: 19" flat across from side seam to side seam
Length: 26" from top of bodice to waist

Skirt
Waist: 13.5" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Length: 37" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4682

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This is such a gorgeous spring / summer set. Both pieces are made from a textured white and blue checked fabric that feels like it is a cotton or cotton mix. Within each little square is a bit of ribbing texture and then there is stitching between the squares. This all adds a very nice subtle dimension to the fabric. The additional stitching helps to hold its shape so that it sits perfectly once on the body. The jacket is tailored with a sleek and simple cut. There is no collar and the neckline simply scoops down at the front with a white border. The fabric of the border has a touch stiffer to it. The border circles around the cuffs, the bottom hem of the jacket and also details the skirt. It snaps to close down the front with painted white snaps which was a signature of his work. The shoulders are soft and the sleeves are short and simple. The shape of the jacket is boxy through the body and it is cropped to the waist. The skirt is equally simple in shape with a simple A-line cut. It snaps down the front as well with two more on the waist band at the front. That same white border circles the waist, runs down the front behind the snaps and then goes around the hem. At the back there is an inverted pleat and this gives a little kick when you walk. This is prettier in real life than how it photoed and is a perfect little suit for spring. Excellent condition

The jacket is unlined, and the skirt is lined in a white silky rayon. Both the jacket and the skirt snapped to close as shown. The jacket is numbered. Tagged a Courreges size 0

Jacket
Sleeves: 8" and 10.5" around the bottom sleeve
Shoulders: 13"
Bust: to 14.5" flat across from side seam to side seam
Bottom hem: to 13.5" flat across from side seam to side seam
Length: 16" from neck to hem

Skirt
Waist: to 12" flat across from side seam to side seam
Hip: 16" flat across from side seam to side seam
Total length: 20.5" from waist to hem

Modern Sizing Equivalent: XXS-XS

Item# DD4681

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD4668

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD4665

Reference Photos: Fall 1972 Yves Saint Laurent.

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

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

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

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

Modern Sizing Equivalent: XS-MED

Item# DD4664

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

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