• The dress was made by hand in the atelier of Ady Couture who was based in Lausanne Switzerland
• Ady was a couture trained seamstress and headed a team who had full permission of the Haute Couture houses she worked with to make the designs they showed in Paris for clients based in Switzerland and the surrounding areas.
• She would purchase couture fabrics from the couture houses along with the patterns. This arrangement with the couture houses was a way to work around customs during this time period and do fittings for clients unable to travel to Paris. So far we have verified that she had this arrangement with Yves Saint Laurent, Christian Dior, Givenchy and Ungaro. There may have been others but those are the four labels we have documentation on from the runway.
• This incredible Haute Couture dress came to me from the niece of the original couture client.
• The dress is an authorized copy of the 1982 Givenchy Haute Couture fdress that we have included reference photos of here. I love having the runway photos so that you can see just how amazing it is in the body. 
• The dress is made from a deep copper gold silk. It is very light in weight but has enough structure to hold the stunning lines and volume of the dress. The colour of the silk is even better in person.
• The neckline is a simple scoop and the bodice skims over your curves. The sleeves are incredible. Each one is set on a curve to follow the shape of the arm in the traditional manner of dressmaking. They are set into the shoulders with a beautiful series of soft pleats so that you get a bit of volume at the shoulder. They puff out slightly around the upper arm and then narrow down at their ends.
• The waist is seamed but with a more generous feel. You can use the ribbon belt to cinch it in and add shape.
• The skirt is one of the best skirts I have seen both from a design point of view and by its level of construction. It is gathered all the way around the waist in a series of soft pleats. These puff out slightly and this little couture trick gives the illusion that the waist is smaller then it is. A seam brings the top part of the skirt inwards and then the lower part of the skirt falls to the floor from there.
• The lower portion of the skirt is made from several yards of silk so that it flares out beautifully as it falls.
• Between the two sections is a wide velvet ribbon that wraps around the seam and ties into a bow at the side. Which beautifully picks up on the bow around the waist. The silk of the skirts are lined in a silk organza to help give support but it is really the genius of the cut itself that creates the shape.
• An elaborate and intricate floral design runs across the front and back of the bodice and down each sleeve. Hand done embroidery work is combined with tiny black sequins and hand applied beads. It is some of the finest hand work I have seen. 
• The skirt is gathered all the way around the waist in a series of soft pleats. These puff out slightly and this little couture trick gives the illusion that the waist is smaller then it is.
• Inside the dress is completely finished to couture standards with every seam finished by hand. I have taken some detail shots for you to see the fine workmanship inside. It is an incredible piece and absolutely beautifully made.
• The bodice is fully lined in a matching gold toned silk and the skirt is fully lined with a soft gold toned silk organza. It closes with a hand set back zipper and the skirt snaps into place with silk covered snaps over that. Hidden set zippers at each wrist. Hand finished throughout. The velvet ribbon belt is not original to the piece but is included. It appears to have been worn very little if at all. Made to Haute Couture standards with a tremendous amount of detail put into its construction. It is a slightly softer gold copper in person then how it photoed. It appears to have been worn very little if at all.
• There is no size tag present so please go by the measurements listed below
• Excellent condition 

Sleeves: 26" and they are 16" around the upper arm
Slightly inset shoulders: 14"
Bust: to 19" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: open
Bodice: 15.5" from top of the shoulder to waist
Length: 58" from top of the shoulder to front hem, 61" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD5461

Reference Photos: Fall 1982 Givenchy Couture Runway.

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.

This dress was made by hand in the atelier of Ady Couture who was based in Lausanne Switzerland. Ady herself was a couture trained seamstress and headed a team who had full permission of the Haute Couture houses she worked with to make the designs they showed in Paris for clients based in Switzerland and the surrounding areas. She would purchase the couture fabrics from the couture houses along with the patterns and then make the actual dresses in her atelier. This arrangement with the couture houses was a way to work around customs during this time period and do fittings for clients unable to travel to Paris. So far we have verified that she had this arrangement with Yves Saint Laurent, Christian Dior, Givenchy and Ungaro. There may have been others but those are the four labels we have documentation on from the runway. This dress is from the Fall 1987 Haute Couture collection. Several variations of this dress where produced and we have included reference photos where you can see the strapless version from the runway. And a shorter version of this dress was also shown on the runway and one was worn by Audrey Hepburn as well.

The dress is made from the most incredible iridescent metallic fabric. It is purple first and foremost but when the light hits here it gets a highlight of a hint of the green that is just amazing to see. The fabric has enough weight to it to hold the shape that you see. The neckline is scooped and the sleeves are set into the shoulders so that you get a bit of a peak where they are gathered into the bodice. They are cut wider near the top of your arm and then taper down to the wrist. The bodice skims over you to the slightly dropped waist seam. Around the hip area is a wide band of gathered fabric that creates that incredible volume. A black velvet bow sits the front. The skirt is cut on a sharp angle that widens out to be quite full as it nears the floor. The cut is meant to feel sculptural and contrast the volume around the hips. The back of the skirt is fuller and set a little longer then the front. One version on the runway was belted and you could easily add a belt to add shape. The interior of the dress is completely finished to couture standards with every single seam done by hand. It is beautifully made and appears to have been worn very little if at all. Excellent condition 

Fully lined in a black silk and closes with a hidden set zipper at the back and there are hidden set zippers at each wrist. Hand finished throughout. It appears to have been worn very little if at all. Made to Haute Couture standards

Sleeves: 26"
Shoulders: 16"
Bust: to 20" flat across from side seam to side seam
Waist: to 16.5" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 54.5" from top of shoulder to front hem, 58" to the longest part of the back hem 

Modern Sizing Equivalent: MED-LRG

Item# DD3808

Reference Photos: (1) A/W 1987 Givenchy Haute Couture Silver metallic lame brocade strapless gown dress with a black velvet chest and bow and 2-layer puffy skirt. L'Officiel No. 734, September 1987.  /  (2-4) Fall 1987 Givenchy Haute Couture Runway.  /  (5) Audrey Hepburn, in Givenchy, at the Sheraton Hotel in New York City for the 17th Annual International Emmy Awards in 1989.

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.

• The dress was made by hand in the atelier of Ady Couture who was based in Lausanne Switzerland
• Ady was a couture trained seamstress and headed a team who had full permission of the Haute Couture houses she worked with to make the designs they showed in Paris for clients based in Switzerland and the surrounding areas.
• She would purchase couture fabrics from the couture houses along with the patterns. This arrangement with the couture houses was a way to work around customs during this time period and do fittings for clients unable to travel to Paris. So far we have verified that she had this arrangement with Yves Saint Laurent, Christian Dior, Givenchy and Ungaro. There may have been others but those are the four labels we have documentation on from the runway.
• This incredible Haute Couture dress came to me from the niece of the original couture client.
• The dress is an authorized copy of the 1982 Givenchy Haute Couture fdress that we have included reference photos of here. I love having the runway photos so that you can see just how amazing it is in the body. 
• The dress is made from a deep copper gold silk. It is very light in weight but has enough structure to hold the stunning lines and volume of the dress. The colour of the silk is even better in person.
• The neckline is a simple scoop and the bodice skims over your curves. The sleeves are incredible. Each one is set on a curve to follow the shape of the arm in the traditional manner of dressmaking. They are set into the shoulders with a beautiful series of soft pleats so that you get a bit of volume at the shoulder. They puff out slightly around the upper arm and then narrow down at their ends.
• The waist is seamed but with a more generous feel. You can use the ribbon belt to cinch it in and add shape.
• The skirt is one of the best skirts I have seen both from a design point of view and by its level of construction. It is gathered all the way around the waist in a series of soft pleats. These puff out slightly and this little couture trick gives the illusion that the waist is smaller then it is. A seam brings the top part of the skirt inwards and then the lower part of the skirt falls to the floor from there.
• The lower portion of the skirt is made from several yards of silk so that it flares out beautifully as it falls.
• Between the two sections is a wide velvet ribbon that wraps around the seam and ties into a bow at the side. Which beautifully picks up on the bow around the waist. The silk of the skirts are lined in a silk organza to help give support but it is really the genius of the cut itself that creates the shape.
• An elaborate and intricate floral design runs across the front and back of the bodice and down each sleeve. Hand done embroidery work is combined with tiny black sequins and hand applied beads. It is some of the finest hand work I have seen. 
• The skirt is gathered all the way around the waist in a series of soft pleats. These puff out slightly and this little couture trick gives the illusion that the waist is smaller then it is.
• Inside the dress is completely finished to couture standards with every seam finished by hand. I have taken some detail shots for you to see the fine workmanship inside. It is an incredible piece and absolutely beautifully made.
• The bodice is fully lined in a matching gold toned silk and the skirt is fully lined with a soft gold toned silk organza. It closes with a hand set back zipper and the skirt snaps into place with silk covered snaps over that. Hidden set zippers at each wrist. Hand finished throughout. The velvet ribbon belt is not original to the piece but is included. It appears to have been worn very little if at all. Made to Haute Couture standards with a tremendous amount of detail put into its construction. It is a slightly softer gold copper in person then how it photoed. It appears to have been worn very little if at all.
• There is no size tag present so please go by the measurements listed below
• Excellent condition 

Sleeves: 26" and they are 16" around the upper arm
Slightly inset shoulders: 14"
Bust: to 19" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: open
Bodice: 15.5" from top of the shoulder to waist
Length: 58" from top of the shoulder to front hem, 61" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD5461

Reference Photos: Fall 1982 Givenchy Couture Runway.

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.

• The label on this piece dates it to the mid-late 1980s, maybe early 1990s 
• It was made under the creative direction of Carolina Herrera.
• She launched her label in 1981 and prior to that had been known as a style setter.
• This is a fantastically rare and wonderful piece from those earlier days and it is one of the best capes that I think I have ever come across in all of my years of doing vintage.
• The knits used in it feels like it is a combination of an angora and mohair. Mixed in with that are gold and a reddish gold metallic thread used for some of the long rows that run the length of the cape.
• This mix of autumn feeling colours is just phenomenal and the metallic pieces that are woven in with the knit add a beautiful subtle shimmer to the entire cape.
• The knits have been set in long vertical rows that run the entire length of the cape. 
• I love how the panels are sewn more tightly together to about the waist area and then they open up. This technique gives you extra volume for the bottom portion of the cape.
• There are no arm openings on this one. It simply slips on to the shoulders and then ties at the neck with long matching knit ties.
• Inside, the cape is finished in a deep burgundy so you get a gorgeous flash of a solid colour when you move.
• There is padding through the shoulders to help add structure so that it sits properly on top of the shoulder.
• The cape slips on and ties at the neck. It is fully lined in a burgundy silk. I see some light discolouration here and there along the lining. Please see the photo after the label shot. The exterior is pristine.
• There is no size tag present and the easy cut should allow it to fit any size. On a smaller frame it will drape more.
• Excellent condition

Total length: 60" 

Modern Sizing Equivalent: OSFA

Item# DD5459

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.

• The twin of the dress in white walked the runway for the Spring 1980 Haute Couture presentation
• It was made under the creative direction of Marc Bohan.
• The Spring 1980 collection was called "Return to Classism". The book Dior:Catwalk noted that the collection "focused on paired back silhouettes with defined shoulders, subtle and belted waists... "My look is one of softness and neatness." Bohan told Vogue. Vogue also noted the one shoulder necklines that were integral to the collection and that is shown so beautifully in this dress.
• This dress would have been made entirely in the Paris atelier. 
• During this time period dresses with this black with white text Couture label usually denoted a custom order that was different from the presented piece on the runway. Being that the dress was shown in white on the runway this makes perfect sense.
• The dress is made out of a red silk crepe that is a colour that is flattering on most skin tones, especially with its touch of a coral undertone.
• I love the nod to classic minimalism that the dress displays.
• A single wide shoulder curves up and over your shoulder and the opening that your arm slips through begins and is set slightly off the top of the shoulder so you have just the suggestion of a sleeve. It angles down across you on both the front and the back. The opening dips slightly low on the other side leaving that entire opposite side and shoulder bare and exposed.
• It skims over the bust and blouses slightly over the seam at the waist. The silk is gathered in slightly at the waist and done so that it falls perfectly around you. If you wanted to add more shape you could easily add a belt.
• The skirt falls from there and is constructed so that it wraps over itself to one side at the front and secured in place around the waist. A deliberate gap is left open near the hem and when you walk, move or sit, you get a flash of leg. You can see how this sits so beautifully on the body from the runway reference photos.
• It is a dress that appears to be so simple in shape but every seam and line of the dress was purposefully and masterfully executed and planned.
• The dress comes with a huge rectangle of finished silk in a matching colour that can be used as a shawl or partial cape piece. It is not photoed but will be sent with the dress.
• This is an extraordinary example of his work during this time period and it is an absolutely stunning dress.
• The dress is fully lined in a matching red silk chiffon and closes at the side with a hand set zipper. An inner waist stay hooks to close. All of the work is done by hand to Couture standards. It appears to have been worn very little at all.
• There is no size tag present because it is Couture so please go by the measurements listed below.
• Excellent condition

Dress
Bust: 17.5" flat across from side seam to side seam
Waist: 12.5-13" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: 17.5" from top of shoulder to waist but does blouse over a bit once on
Total length: 57" from top of shoulder to hem with 2.5" turned under the ham

Shawl (not pictured)
6.8 feet wide x 9.75 feet wide

Modern Sizing Equivalent: SML-MED

Item# DD5454

Reference Photos: Spring 1980 Christian Dior Couture.

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.

• The near twin of this dress with a separate lace underlay styled underneath it walked the runway for the Spring 1988 collection. 
• It was made under the creative direction of Christian Lacroix
• The dress and print are very well documented. Its near twin was shot for Vogue that season and a similar dress is held in the V&A permanent collection.
• Lacroix's Luxe label was only produced the very first couple of seasons after launching his label. It was a very high-end (very expensive) ready-to-wear line that was made to demi-couture standards. It was available primarily to his couture clients and a select few beyond that. It was the predecessor to his regular ready-to-wear collections. The label only lasted the first two seasons because some of the couture clients complained at how close the garments were to their Haute Couture pieces. Very few pieces were made so they are almost as rare as finding one of his Haute Couture pieces.
• The dress is spectacular. It is made from a beautifully vibrant pink floral covered silk that has a secondary texture worked into the silk. The added texture makes the dress even more interesting as you get closer.
• It is fitted through the bodice and I love how this counteracts the volume of the skirt. The bodice is sharply peaked and has built-in boning inside for shape structure. At the back it dips down on a curve to leave most of your upper back bare and exposed.
• It is seamed so that it cinches in at the waist. The dress comes with its original matching silk belt that hooks into place around the waist. A large soft bow hides where it hooks together. I have styled it with the bow to the front for most of the photos but also showed it with the bow to the back. You could also style it to either side (not photoed).
• The skirt is phenomenal. It is one of his signature bubble skirts that has inspired thousands of designer since. It is made from a single layer of the same floral printed silk. All of the incredible volume that you see is created by the way it is shaped, cut and set in around the waist. I love how it extravagantly curves outward around you and then comes back in at the hem.
• The dress is fully lined through the bodice in a black silk and the skirt is lined in a stiffened  transparent black fabric that helps to hold the shape. There is built in boning through the bodice. An inner waist stay hooks at the waist and the dress zips to close at the back. Hand finishes throughout. It appears to have been worn very little if at all.
• There is no size tag so please go by the measurements listed below
• Excellent condition

Bust: to 17.5" flat across from side seam to side seam
Waist: 13-13.5" flat across from side seam to side seam
Hips: open
Bodice: 11" from top of the peak of the bodice to waist
Total length: 28" from top of the peak of the bodice to hem

Modern Sizing Equivalent: XS-SML

Item# DD5438

Reference Photos: (1-2) Spring 1988 Christian Lacroix.  /  (3) Vogue, March 1988.  /  (4-5) Christian Lacroix dress from the V&A Museum Collection.

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.

• The twin of this dress walked the Fall 1987 Bill Blass runway.
• It was made under the creative direction of Bill Blass.
• I love that we found a reference photo from the runway so you can see just how fantastic this is once on.
• This is the actual dress worn Mikey Madison to the Oscars Nominees Dinner in February and she landed on several best dressed lists as a result.
• Bill Blass launched his label in 1970 when he bought out the Maurice Rentner label and re-launched it under his own name. Blass was arguably one of the most famous of the American designers. His forte was the ability to mix simple styles with unexpected materials in way that was very flattering to the wearer. 
• It is one of those dresses that looks amazing on the dress form but is even better on an actual person.
• The fabric feels like art. The base is a rich blue silk and then onto this is a fantastic design made of out a black velvet. The velvet is very soft to the touch with a chenille like finish that gives the design a beautiful texture and softness.
• The dress has the feel of an antique 18th century gown and I love this reference back to the past.
• The top is a fitted and strapless with a band of black silk wrapping around the breasts. It falls from there to skim outward over the waist and hips, and then narrows back down to the floor as it reaches the hem. This gives the front of the dress a more long and lean feel but with a hint that something special might happen as you turn.
• The back is the star of the show. Sitting over the top of the closure at the back is a large black velvet bow. This tops an added panel underneath that is very extravagant. The panel curves outwards and then loops back in to attach just under the hips. A second black velvet bow sits at the base of where it is attached back into the dress. A slit is hidden under the panel to give you room to walk while keeping the narrow silhouette of the hem.
• The dress is fully lined in a black silk. It closes with a back painted metal zipper hidden under a seam and there is an inner hooked waist stay. There is light boning through the bodice. Hand work throughout. It appears to have been worn very little if at all.
• There is no size tag present, so please go by the measurements below.
• Excellent condition

Bust: to 17" flat across from side seam to side seam
Inner waist: 14" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Total length: 56" from top of bodice to hem

Modern Sizing Equivalent: SML-MED

Item# DD5411

Reference Photos/Video: (1) Fall 1987 Bill Blass Runway.  /  (2-6) Mikey Madison wearing this dress to the Oscars Nominees Dinner, February 2025, styled by Jamie Mizrahi. 

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.