This is an extraordinarily rare example of the work that Ossie Clark and Celia Birtwell were doing together in the very early 1970s. This one has the added bonus of being one of Celia's very well documented prints. We found numerous examples of this print used in various pieces showing how integral it was to that seasons collection. Really great Ossie Clark pieces are becoming increasingly harder to find anymore and this one is amazing. In 1968 Ossie Clark was designing his own couture line and also designing pieces for Alice Pollock for her Quorum Boutique. The Radley company approached Alice to find out of she could convince Ossie to design a top of the market collection that they would produce and sell to various boutiques and department stores. Dresses like this were the result of that collaboration. Even with this early version of 'ready to wear' the pieces that were made were still never produced in vast quantities and certainly nowhere near whet we think of today as RTW as far as quantities that would have been produced. This one with its ivory colour and pretty floral print might even make an amazing wedding dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. And of course it could also be worn to any occasion. There is never a wrong time to wear Ossie.

The dress itself is also a stunning example of what would go on to become one of Ossie's most famous and recognizable designs with that signature squared off neckline and smock shape through the body. Various versions of these in solid colors are held several museums and I have had a couple in solids colours in the shop before.

His designs transform once on the body and no matter how fabulous the dress looks like in the shots it is even better on an actual body. The design of this dress reminds me of his classic 'graduation gown' in how it is loose and easy through the body but this version has a more filled in front then the plunging graduation dress design does. And it is also differentiated by the neckline that is edged with a panel on the same moss crepe fabric and that follows the front neckline. It has that incredible flow and drape that he was known for and it is so easy to wear. The neckline comes down and angles around its opening and then the dress falls from under that. It is set into the neckline with a series of flat pleats that open up at about the wast and fall freely to the floor. Attached ties on either side of the waist wraps around and tie to give you some the shape. The skirt flows from the front gathers under the neckline and at the back it begins right under the shoulder yoking with a long inverted pleat running down the center. It cascades to the ground and is balanced by the gorgeous sleeves. I love the capped shoulder on them with its nod to the previous century. The dress is made out of his signature moss crepe in a creamy ivory and then it has that incredible floral Celia Birtwell print running over its entire surface. It is incredibly long and in its original supermodel uncut length. It is a treasure. Excellent condition with a small note below

Unlined and slips over the head to wear. It is narrow through the shoulders but generous through the body. The attached ties can be used to cinch in for more shape. There are slight fold marks in the crook of each arm and very light marks in the body of the dress here and there. All minor and mentioned for accuracy. Please see the photos after the label shot. If you are narrow through the shoulders then a MED could fit it as well

Sleeves: 26"
Shoulders: no defined seam but probably around a 13-15" max
Bust: to 19" flat across from side seam to side seam
Waist: open and can be defined by the attached tie
Hips: open
Length: 60" from shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD4326

Reference Photos: (1-3) Models in Ossie Clark for Radley, 1973.  /  (4) Model in Ossie Clark, Cosmopolitan, December 1973. Photographed by Eva Sereny.  /  (5) Model on left in Ossie Clark, Telegraph Magazine, September 1973. Photographed by Brian Duffy.

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

Vogue said of the Spring 2013 Emilio Pucci presentation; "When Peter Dundas inherited this historic Florentine house—famous since the 1960s for its kaleidoscopic prints—he made reworked archival patterns a major part of his story line. Last season and this one, though, he's started inching away from them. These days, the label is just as well known for Dundas' confident, louche brand of glamour as it once was for its founder's graphic swirls and geometries." Beyond this collection had many solid pieces as well including this dress who's twin was look 41 of the show. It was one of three white dresses that close the show before the final red look. It's a gorgeous dress it might even make an amazing wedding dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. And of course it could also be worn to any event.

The dress is made out of a stunning light silk that is light in weight but just heavy enough to keep the structure. It is very close to a true white. It is so simple in it's cut but is so chic and elegant once it is on the body. It feels very much like a Peter Dundas piece. The front neckline is done in a halter style with the upper part above the bust line finished an a white netting that has a secondary abstract print work through it. This allows you to see the skin underneath. The front is gathered over the breasts almost like a bandeau and seamed in the center. Under that is an open cut out for a bit more skin to show. The dress curves in to follow the waist under that and and skims over the hips. The skirt falls to the floor and widens out quite a bit as it nears the hem. This gives the dress incredible movement when you walk and you get a sense of that in the runway video. I love the loose slightly draped pockets that sit on each hip. The back is mostly open with a criss cross of straps and an open cut out between the waist and the back strap. Decorative frog knots sit at he low waist fort added detail. Once on this fits and hugs your curves in the best possible way. It come with its original tags attached. Excellent condition

The dress is fully lined through the bodice and the skirt is unlined. It closes at the side with a hidden set zipper. Light boni9ng and padding through the bodice. Tagged a modern Pucci IT42, FR38, US8, UK10. Because the upper body is lined and padded when it is off the body it feels like the fabric is a touch darker as it is completely opaque. Once on its fine and the lining is needed

Bust: to 17" flat across from side seam to side seam
Waist: to 13.5" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 64" from top of neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4325

Reference Photos/Video: Spring 2013 Emilio Pucci Runway Look 41. Model Kasia Struss.

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 Josefa caftans and have covered the history of the label a couple of times in my instagram. They are like owning a piece of wearable art. Every single one of them was entirely hand made and detailed. They were made in Mexico in the late sixties to early seventies and were the epitome of Bohemian chic in their day. They are easy to wear pieces that can go from the beach, to exploring far off markets, to being worn as an evening piece depending on how you style them. I am always happy to find the really fabulous examples for the shop and this is definitely one.

This is a wonderful example of her work and it is gorgeous too. The cotton is soft and it is a dream on. Most of her caftans tended to be bright vivid colours so it is a bit unusual to see this one with in this black and ivory combination. There is still that pop of vivid colour though with the embroidery work around the neck. I love it. The cut through the body is full and easy. It falls from the shoulders and opens up even more as it nears the hem.  Panels are set into the sides to add volume and I love how those are a striped fabric that add contrast to the solid black and cream  parts. I also shot the caftan laid out flat so that you can see how this looks. Because the cut is more loose and easy over the body it is incredibly easy to wear. The sleeves are incredible You can see on the photo of the caftan laid out how they are cut straight across the top and then drop into long points almost to the hem. Running around the squared off neckline is a wide band of embroidered rows of multi-coloured embroidery all done by hand. This wraps over the shoulders and all the way around the back in the same way. It simply slips on to wear and is fabulous. Excellent condition with a minor note below 

Unlined and slips on to wear. I see a couple of very small spots. One on the sleeve and a couple on the body of the caftan. Some of the threads in the embroidered parts are a little loose. They could probably be clipped if this bothers you. Please see the photos after the label shot. They are so minor they have zero impact. There are some natural variations on the colour of the cotton here and there. The black is a little softer in person and the ivory a bit more a natural linen colour than how they photoed. It is even better in person and has a beautiful authentic vintage patina. The loose cut will allow it to fit a range of sizes.

Sleeves: 39" to the longest point
Bust: to 20" flat across from side seam to side seam
Waist: to 22" flat across from side seam to side seam
Hips: to 27" flat across from side seam to side seam
Length: 57" from shoulder to hem

Modern Sizing Equivalent: SML-LRG

Item# DD4324

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