The label on this dress gives us a date range of 1953 to 1966 and I suspect this piece was designed somewhere during the turn of 1960. In the late 50s and into the very early 1960s she was known for her slim cut pants that were topped by exotic tunics - like this one. From my understanding these were sold separately so her clients could mix and match. She was greatly inspired by her travels and the exotic feel of the far east shows through in this design that we have here. The tunic dress is shockingly light - I know it looks like it should not be with that intricate pattern making it appear like it is a brocade or something along that line, but the fabric is actually a beautiful and very light chiffon. The pattern is fantastic - the intricate design is made from a fine gold metallic thread woven through the fabric. The upper bodice is cut with a high neckline and the sleeves are full and wide. The sleeves have been left unlined giving it a touch of contrast despite it being the same fabric. It is ling and sleek from there as it falls to the floor and each side is slit to the upper hip so whatever you choose to wear underneath will show with every movement. I especially love the inset of metallic brocade that runs down the inside of each slit. It's gorgeous. Excellent condition.

The dress is fully lined through the body in a neutral colored silk except for the sleeve which are unlined. It closes at the back with a painted metal and nylon zipper. the color has a touch more of a blush undertone in person

Sleeves: 21"
Shoulders: 15"
Bust: 19.5" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: open
Length: 59" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD2813

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 label on this dress instantly gives us a date of between 1970-1974. 1970 was the year Janice Wainwright launched her own label and after 1974 her labels only carry her name, not the full ‘Janice Wainwright at Forty Seven Poland Street,’ that we see here. These four years are what has forever defined Janice and her work. She excelled at these embroidered pieces and the Art Deco & Nature inspired designs that she loved flourished and became one of her signatures.

This dress is a beauty and really a museum worthy piece. Her caftans and dresses by her during this time period and of this quality are harder and harder to find. As mentioned above, it has the added bonus of having the coveted, earliest Janice Wainwright at Forty Seven Poland Street label. Pieces with this label are from the beginning of her career and for me, really showcase her talent and are among the very best of her work. The base of the dress is a black chiffon. The bodice is what gives the dress its caftan feel even though technically it is more fitted then a typical caftan dress would be. The sleeves are cut wide for a kimono feel and her signature embroidery runs extensively down each of them and across the back of the dress. The front is cut very low with a loop and button holding it in place. The waist nips in and is highlighted with red embroidered piping. This same red line runs down the skirt, highlighting the sweeping lines as the skirt gently flares out as it reached the floor. It is beautiful. Excellent condition

Fully lined in a black silk rayon and closes with a back painted metal zipper. The front button on the plunging neckline is also functional.

Sleeves: 21" approx.
Shoulders: no defined seam
Bust: open
Waist: 13" flat across from side seam to side seam
Hips: 22" flat across from side seam to side seam
Bodice: 12" from neck to waist
Skirt: 46" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD2813

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 label on this dress instantly gives us a date of between 1970-1974. 1970 was the year Janice Wainwright launched her own label and after 1974 her labels only carry her name, not the full ‘Janice Wainwright at Forty Seven Poland Street,’ that we see here. These four years are what has forever defined Janice and her work. She excelled at these embroidered pieces and the Art Deco inspiration she loved flourished and became one of her signatures.

This set is amazing and really a museum worthy set. Pieces by her of this quality are harder and harder to find. As mentioned above, it has the added bonus of having the coveted, earliest Janice Wainwright at Forty Seven Poland Street label. Pieces with this label are from the beginning of her career and for me, really showcase her talent and are among the very best of her work. It is two separate pieces and the base of both is a black chiffon. Both pieces simply slip on and are very easy to wear. The top "tabard" cut top is fabulous. It is cut into a wide T shaped on both the front and back. This allows the sleeves to be wide and have a kimono feel to them and the front drop over the skirt like an apron. It has elastic that runs through the waist and it ties at each side.  Her signature embroidery is done in sharp geometric angles that follow the cut of the tabard on both sides. The pink and green pop wonderfully against the black. Under this sits a skirt that is completely finished with Fortuny felling pleat finish. It is full length and the solid black of it serves as the perfect base for that spectacular top. Excellent condition

The top is fully lined with the same chiffon fabric as the exterior and slips over the head with elastic all through the wide waist band and ties at each side. The skirt is also lined and closes with a zipper and hook at the waistband.

Top
Length: 54.5" top to bottom
Width: 32.5" side to side

Skirt
Waist: 13.5" flat across from side seam to side seam
Hips: 21.5" flat across from side seam to side seam
Length: 44.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD2811

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

This stunning dress is one of the most incredible Stavropoulos gowns I have had in the shop. I love the lightness and airiness of it that created by the layers and layers of the mint green silk chiffon. In person, the layers give it a depth not quite captured in the images here. The photos don't quite capture the tone of the color the layering creates. Trust me when I say it is even better in person. It is also a touch more of a pastel tone in person. The entire gown is cut on the bias and there are yards and yards of silk that have been used to make this beautiful dress. Four full layers of silk are used in the lining of the skirt alone and that is under and in addition to the top layer. The interior bodice has a simple V neckline that you see under the top layer of silk. A second V at the back mimics the front. The waist is shaped by vertical seaming and gives the dress just the perfect touch of shape. That seaming opens up into deep pleats on the skirt that allow the tremendous amount of fabric that makes up the the top layer of the skirt have full movement and drape. Each sleeve is a single layer of silk chiffon and flow cape-like over the arm. The sleeves are cut very wide and full. Each is fully open along the lower edge so you get a real flowing, cape feel from them. It is beautiful. Excellent condition

George Stavropoulos is one of my favorite designers and his work is extremely overlooked in my opinion. He was known for his evening wear and his signature looks often involved draping and the use of multiple layers of silk done on a bias cut. He did not like overt, flashy ornamentation and instead focused on cut and fabric to convey the beauty of each piece. It was said that his gowns "seemed to float on air". He launched his label in 1960 and soon was dressing women like Elizabeth Taylor, Jackie Kennedy, Barbra Streisand and Maria Callas. The majority of his gowns are almost entirely made by hand and to couture standards. By the early 1980s a gown by him started at around $8500 and they went up in cost from there - that starting price point equals to around $26,000 in today's dollars. So when you buy a vintage Stavropoulos gown you are getting incredible value for your money. The only reason many of his gowns are not considered Haute Couture is because he was not an official member of the association.

It closes with a back painted metal zipper and buttons at the neck above the keyhole. I see one teeny bit of darkening to the fabric about mid-waist on one side and two tiny areas on the back of one shoulder.  The dress is entirely bias cut so it will drape to fit a range of sizes.

Sleeves: 31"
Shoulders: 14"
Bust: 16-17" flat across from side seam to side seam
Waist: 12-13" flat across from side seam to side seam
Hips: open
Length: 60" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD2502

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

This is the second time I have had a version of this dress in the shop and each time I find one love it even more. It is one of those perfect, pretty, easy summer dresses that you can wear to just about any event and it easily goes from day to evening. It is utterly gorgeous and has all the hallmarks of the best of what Hanae Mori could do. The colors are stunning and the palette she used for it are vibrant and bright. The soft backdrop print is a brilliant mint green that has touches of blue in it and this has been screened onto a soft, polished cotton feeling fabric. Onto that pretty backdrop are a design that has huge exotic birds flying over its surface. These bold and beautiful birds fly across the dress in an array of bright pinks and corals and they seem about to fly off the green backdrop. It is cut in an easy to wear caftan style with an elastic through the waist. A tie belt in the same fabric allows you to cinhc it in for more shape if you want. The bodice is full and easy and the skirt widens as it nears the hem. Hidden front pockets are hidden along the front seaming detail that runs down the dress. The bodice is left loose and easy and the neckline is cut  a V. The sleeves are left loose and wide with no seams at the arms to break the lines of the print. I actually own one of these myself and wear it endlessly. An absolutely wonderful piece. Excellent condition.

Unlined and slips on to wear with elastic at the waist. It has its original tie belt that can be used to cinch in the waist more. The color in person is a touch more vibrant and more of a true green in person then how it photoed. The easy cut allows for a range of sizes.

Shoulders: no true defined seam
Bust: no true defined side seams
Waist: 14-17" flat across from side seam to side seam
Hips: to 21.5" flat across from side seam to side seam
Bodice: 15" from top of shoulder to top waist seam
Skirt: 40" from top waist seam to hem

Modern Sizing Equivalent: SML-MED

Item# DD1829

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

Similar Fortuny gowns are held in museums and private collections world-wide and they are becoming increasingly hard to find. A version in green is a part of the permanent collection at The Costume Institute of The Metropolitan Museum of Art (pictured). The description of that gown is so wonderful I thought I would share it with you here verbatim:

"Mariano Fortuny created a number of variations of his pleated silk gowns. In this model, he combined elements of the classical chiton and the peplos. A "tunic" is attached along its neckline to a long sleeveless underdress, suggesting the apoptygma of the classical peplos. This effect is further emphasized by the handkerchief points at either hip, which would have been seen on the sides of an authentic apoptygma. In the ancient Grecian peplos, the arm openings were positioned along the neckline edge rather than the sideseam edges. This resulted in a dipping hemline at either side of the garment when worn. Fortuny took this structural attribute and achieved the similar, purely decorative effect by cutting away at the tunic's front and back hem. Further, he interpreted the buttoned or pinned closings characteristic of a chiton's shoulder seams by connecting the topline seam of the tunic's sleeves with Venetian glass beads interlaced with silk "rat tail" cording. Fortuny was noted for his antiquarian intentions and scholarly treatment of classical dress, yet in the end, he invented rather than replicated a Hellenic style."

This beautiful version is a labeled Mariano Fortuny gown, circa 1907-1920. It is not perfect but still wearable and a wonderful example of his work. It's imperfections mean a huge difference in price. In hunting for a  comparable I found the very few examples out there to range from $10,500 - $16.500 and none were anywhere near this glorious color.

The dress is hand dyed to an deep raspberry, the pleated silk has a corded silk drawstring at the neck, short kimono style sleeves and an attached tunic with pointed side panels all of which are weighted with deep red, Venetian glass striped beads. The gown is in good condition. The silk is strong and wearable with no splits in the pleats. The pleats have softened throughout and this is the primary reason for the reduction in price. From a wearability point of view it has no effect and gives the gown a softer, more romantic, billowing feel. The beads that should lie along the arm to close it like the one you see from the Met are missing. You could tack the arm shut where a bead would be but I actually loved the open feel that gives it a modern look so chose to leave it as found. I see one spot that is lost in the folds and if held to the light perhaps a tiny pinhole or two but nothing alarming. Even the one from the MET seems to have the same softening of the pleats and I believe this occurs partly from age and partly as a result of the pleats being moved more in this area when worn. All the beads are present along the sides and bottom edge of the tunic. The color, style of sleeve and type of beads used place this in the very early years of Fortuny's career. It is signed along the tape at the seam.

It is 69" long from the mid neck at the back to the hem and the width will accommodate pretty much any size. The upper inside bodice is lined in a nude silk that is fully intact. Part of the seam was loose and I had it lightly tacked down along the edge.

Note that antique and twenties pieces are final sale. They will be packed exceedingly well and we only sell pieces that will stand up to the stress of shipping, however, having pieces potentially shipped multiple times through multiple customs and countries is too hard on garments that are historically important and deserve to be treated with love and care. Please purchase accordingly.

Modern Sizing Equivalent: OSFA

Item# DD2801

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 absolutely gorgeous Pucci dress with a sublime and chic color palette in soft blues and lavenders mixed with greys and off-white. It is made from his signature lightweight silk jersey and has one of his signature custom screened designs running over its surface. The sleeves are full and billow above the wide cuffs. These balance a bodice that is cut to skims over the bust and features a deep and sexy plunge. The skirt flows to the floor in a sleek and simple column. This is a classic Pucci silhouette that is instantly recognizable and very sexy despite it covering you from head to toe. I love the contrasting pattern at at the cuffs, neckline and front and that circles the easy cut waist. It zips up down the front and is so comfortable to wear. The print and colors all work with each other beautifully. 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 are all about. Excellent condition with some small notes below.

Fully lined in a white stretch jersey and and closes with a front metal and nylon zipper. 100% silk jersey and does have some stretch. Tagged a vintage Pucci 12 but please check actual measurements. This has some extremely minor little marks and discolorations here and there as is normal with many older Pucci's. Nothing that would photo or distract and all get lost in the print but it is noted for accuracy.

Sleeves: 28"
Shoulders: 15.5"
Bust: 16-17.5" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: 22" flat across from side seam to side seam
Bodice: 11" from neck to waist
Skirt: 45" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD2683

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

During the 1950s, Yma Sumac was a singing superstar. She was known for her extreme vocal range, which was said to be "well over five octaves". She had immense style and combined the look of traditional Incan costumes with high 1950's Hollywood glamour for a look that was totally her own. When she passed in 2008 most of her clothing ended up in the hands of her long time assistant Damon, and he eventually released most out for sale. Those were immediately snatched up by collectors and fans and her pieces have become harder and harder to find as time passes because they are squirreled away in private collections around the world.

This is a stunning robe that is extremely well documented. It is from Saks Fifth Avenue and was most likely a design collaboration between Yma and Sohie Gimbel. Yma was photoed in it and also sat for a portrait in the robe so it was obviously a favored peice. The evening robe is made of a heavy pale green silk with a matching silk lining. The sleeves are finished with huge inky black velvet cuffs that I have left down for the photos so you can see just how long they extend down. In the photo and the portrait Yma has worn them flipped up. The front edges of the robe are also finished with a panel of black velvet. I love the huge expanse of fabric the robe has used in its construction and the way it widens dramatically as it nears the hem. It is extraordinary and it is a priviledge to have a piece in the shop from a woman that in in 2010 'V' fashion magazine voted as one of the top 5 World Muses. Excellent condition

Fully lined in a matching heavy silk. It has no closures. Perhaps a touch of grubbiness to the edge of the hem and there is a scuff on the inner silk near a seam. All extremely minor and do not detract. The open cut allows this to fit a large variety of sizes

Sleeves: 20"
Shoulders: 19.5"
Bust: 23.5" flat across from side seam to side seam
Waist: open
Hips: open
Length: 59" from neck to hem

Modern Sizing Equivalent: XS-LRG

Item# DD2648

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

This rare and amazing, entirely hand painted, silk caftan gown is just wonderful. This version is a beautiful and extremely rare combination of a peach, a deep goldenrod yellow and pinks, with a pale pink blush belt. I have never actually seen this combination before and suspect it was specially done for Creeds which would make it even more rare and desirable. It is made entirely of hand painted silk chiffon with a satin sash and this one has a lined skirt - also a rarity. The bodice is cut loose and full and dips dramatically to plunge almost to the waist at the front and is embellished with pearlized, shell shaped beads that run around and behind the neck and are scattered on each long and wide 'butterfly' sleeves. The waist is a wide gathered elastic band and the skirt below that flows full and soft to the floor. A pink silk satin belt cinches in the waist and adds the perfect finish. The print is entirely done by hand with beautiful lilies painted on it and the field of lilies text she is infamous for is scrolled across it top to bottom. 'I love beautiful flower' 'Beautiful flower' 'A lily flower, a lily, a lily' 'A field of lilies' 'Lilies lots and lots of beautiful lilies a field of yet more lilies' 'Zandra Rhodes, Zandra Rhodes' 'Grass' 'Leaves more leaves, leaves green' 'Zandra's beautiful lilies' is written on various parts. It is a true work of art, exceedingly rare and very special. A true piece of fashion history. Excellent, museum quality condition.

This is perhaps one of Zandra's most well documented pieces and examples are held in museums and private collections world wide. On the Zandra Rhodes website the text describing this dress reads:

"Certain dresses in particular have become known as Zandra Rhodes classics that are revisited every season and reworked, such as her best-selling dress known simply by its style number '73/44'. This feminine silk chiffon dress first came out in 1973 with a 'Field of Lilies' print, and has a deep v-neckline, long wide sleeves, and a full length skirt. It is finished with a satin sash in a contrasting or complementary colour, which is another Zandra Rhodes trademark

Her site further references versions of this gown that can be found in these books: The Art of Zandra Rhodes (Rhodes and Knight 1984) this dress is shown in a different colourway as butterfly no. 66 and is shown photographed flat (p.102); the style number 73/44 is described as a 'CLASSIC' (p. 238). Zandra Rhodes a lifelong love affair with textiles (Monsef et al 2005) this dress is shown in a photograph by David Bailey taken for British Vogue 1974 (p.90). This style number is described as Zandra Rhodes' 'best-selling garment' that has 'graced celebrities, royalty, models and women around the world' (p.91). Fifty Dresses that changed the world (Design Museum 2009) the style number 73/44 is included with the title 'Painted Chiffon Dresses' (pp.62-3)."

The V&A Museum notes about this print: "Zandra Rhodes considers the Lily prints to be the best of her work, and particularly significant. It was while developing the Lily textiles that she developed the method of reversing the silkscreen to produce a mirror image of the print and create symmetrical patterns. This went on to influence many of her future significant prints, such as 'Lace Mountain', 'Cactus Volcano' and 'Scribble Turnaround'. The Lily prints also represent the introduction of handwriting and calligraphy into her textile designs. Another point of significance for Zandra is that the Lily dresses were the first dresses that she started applying beading to, which would become a future trademark." It also comes with its original silk satin pink sash that has the Zandra Rhodes Sample label hand sewn to its back. Making this perhaps one of the first of these dresses to have been produced!

Partially lined with a second layer of peach silk chiffon through the bodice only. The dress has an elastic waist and slips on to wear. The skirt is fully lined in a yellow silk and the pink silk satin sash is original to the dress. Hand finished throughout and entirely hand painted.

Shoulders: no defined seam
Sleeves: approx 37" to longest points
Bust: no trued defined side seams
Waist: 15-17" across
Hips: 23" flat across from side seam to side seam of the inner lining
Length: 56" from shoulder to hem

Modern Sizing Equivalent: SML-LRG

Item# DD2597

Reference photos: Jane Goddard in Zandra Rhodes by David Bailey, Vogue UK, 1974. / Bianca Jagger wearing a Zandra Rhodes dress for Cosmopolitan, 1974.

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

This was said to have been a Halston, however it has no tags and I have not been able to verify that 100% so I am hesitant to list it as a Halston without proper verification. He certainly did do a series of tie dye caftans for his 1972 collection and this does follow the lines of what he was producing so it very well may be a true Halston. If so then you are getting it at a truly bargain price. Regardless, it is a beautiful piece of wearable art and a spectacular statement piece. The range of colors and the tie dye design that flows across the silk is divine. The cut has that draped, goddess, flowing feel to it of a true caftan. All of the edges are hand finished and the cut is simple a keyhole for the neck and opening left on each side for the arms. This allows that spectacular pattern on the silk to command center stage. It presents as excellent collection but does have some flaws so please read the paragraph below.

It slips on to wear with no closures. There is a ties at the neck. On each side of the neckline the fabric has torn slightly - please review the photos. This could be corrected by widening the neckline slightly. I see two small areas of thinning to the fabric that I also photoed. These are close together on the front side about 8 inches up from the hem. Once on they don't show because of the amount and drape of fabric

Length: 51" top to bottom
Width: 55" side to side

Modern Sizing Equivalent: OSFA

Item# DD2580

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

This beautiful and dramatic silk chiffon caftan dress is instantly recognizable as by Hanae Mori and is of museum quality. It is a bold and bright clash of a tropical colors that work perfectly with each other. I absolutely love this bright color palette and find the boldness a little magical. This is everything you look for in a Hanae Mori piece and is an exceptional example of her work. It is getting harder and harder to find these as her work is highly collected by many now, and she is actively hinted for and sourced for museum archives world wide. Here the color of the silk chiffon is a brilliant turquoise with vibrant pops of pink mixed with a soft pastel coral and pops of white. The print is one she would have designed herself and she cleverly gives it more depth by layering the silk chiffon exterior layers over a printed interior silk twill base. It is cut in a long simple sheath underneath the two floating exterior silk layers. In person those exterior layers of silk waft and float around you when you move in a really beautiful way. I love how the silk chiffon sleeves widen as they near the cuffs and the finish on the sleeve ends has been done so they create a soft "ruffled" effect. The neckline is high and rolled. The silk chiffon layers cascade over the inner dress in layers that end in points at the front and the back, picking up on the shape of the sleeves. It is just amazing and very beautiful. Excellent condition.

Fully lined in a hand-set pale blue tissue silk. The exterior of the very inner dress is a fine silk twill and with two layers of printed silk chiffon laying over the base. The sleeves are left unlined. The back closes with a hand set, painted metal zipper and hook & eye at the back of the neck. Her signature teeny fabric covered snaps close each of the the silk chiffon layers over the back zipper. There is a teeny, tiny pull in the silk chiffon near the side but you only see this when it is laid out flat and this is only mentioned for accuracy

Sleeves: approx 24"
Shoulders: no defined seams
Bust: to 18.5" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 56" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD1297

Reference Photos: Cherie, Owner of Shrimpton Couture, for her weekly style column on our blog Curated. (Photos by Erin Leydon) Click here to see the full column >

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 loose and easy caftan cut dress is always an amazing vintage staple but to find one by the Yuki brand is a treat. It is such a rare label and I love his work. This piece shows his love of minimal seaming and has just two seams down each side and then that wonderful halter neck detail. The neckline brings the dress up and into a point and then wraps around the neck to leave the collarbones bare. I love that you can also "cheat" it and hook the halter off to the side and create a more one shoulder feel and it still works. From that defined neck it falls to the floor in a wide expanse of jersey - opening quite full and yet still falling wonderfully. The washable jersey is screened with an oversized digital and floral print that feel very modern and like wearing art on the body. It is shockingly sexy despite its full, full cut because of the way the fabric moves when you do. It is just gorgeous and a real find. Excellent condition

Unlined and slips on to wear with one strap closing with hook and eye and on one side with more hook & eye. The cut will allow it to fit a large range of sizes as it will just drape more on a smaller figure. Made of a washable polyester knit jersey.

Bust: 18.5" flat across from side seam to side seam where its fitted
Waist: open
Hips: open
Length: 61" from top straps to hem

Modern Sizing Equivalent: XS-MED

Item# DD2550

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 exceptionally beautiful, draped, heavy silk Jean Patou dress that is an absolutely masterpiece and an important representation of the house of Patou and the level of haute couture they were producing at this time. Jean Patou once said "the modern woman leads an active life, and the creator must therefore dress her accordingly, in the most simple way, whilst maintaining her charm and femininity." and this dress is the very epitome of that statement. As time passes this piece will only increase in value and is truly a collectible, if not museum worthy piece. Beyond its distinguished provenance it is one of the most beautiful dresses that I have had come through my hands and the fit once on a real body is divine. The dress is numbered and is true haute couture piece that has been made entirely by hand and represents countless hours of dedicated hand work within the atelier. A heavy rich, deep raspberry pink silk is bias cut and has been hand draped and gathered in towards the waist so that the entire dress seems so either meet or begin at that point depending on your perspective. The neck plunges (a hook allows you to control whether that is a low plunge or a to-the-waist-plunge) and the front curves up in a high slit that follows that beautiful draping. It completely opens so has the added versatility in that you can use it as a layering piece as well. The final effect has the feel of a Grecian goddess and the color is perfect on most skin tones. Really an extraordinary piece that will be the star of your wardrobe. Excellent condition.

Fully hand set lining in a matching custom dyed silk. Finished to Haute Couture standards and entirely done by hand. Closes with a series of hook & eye and snaps at the front. Inner waist stay. Numbered label 10.950. Note that the waist measurement is that of the inner waist stay - I believe you could potentially adjust this and the corresponding snaps and hooks up or down 1/2" without effecting the drape. I see a slight spot on the back just under the waist and two tiny areas just above. This is listed in clean, odor free, as found condition and these most likely will come out with specialty cleaning but I don't like cleaning haute couture unless it is absolutely necessary. I attempted to photo it (see the photos) but you can see it doesn't really even register on camera. It is negligible and does not affect the value as priced or its ability to be worn. I feel a smaller frame could wear this well and it would just drape with a looser fit. The color is even more beautiful and rich in person.

Sleeves: 16.5" approx.
Shoulders: no defined seam
Bust: open with no true side seams
Waist: 15" flat across from side seam to side seam
Hips: to 21.5" flat across from side seam to side seam
Bodice: 18" from neck to waist
Skirt: 40" from waist to longest point of back hem

Modern Sizing Equivalent: SML-LRG

Item# DD2517

Reference Photos: Cherie, Owner of Shrimpton Couture, for her weekly style column on our blog Curated. (Photos by Erin Leydon) Click here to see the full column >

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. Pieces from this collection are held in museums world-wide and are coveted by collectors. This exceptional gown is extra special as it could potentially play double duty as a wedding gown on the right girl.

Here the shell design that truly defines it as being from this collection, is used as iridescent beads on the bodice along with other bead and pearl adornments. The neckline dips and crosses over itself and this repeats at the back as well with both front and back tied with cording. The edges have a hand painted border and the front embellished in a pretty spray of those shells, pearls, beads and other various shell shaped paillettes. The waist is caught up in an elastic and then the skirt sweeps to the floor in a sweeping cascade of feather light silk that is entirely hand painted and wonderful. It still has its original white tulle over an ivory silk satin underskirt that add further shape and volume. The sleeves are absolutely incredible with each starting out from the waist to an an elastic above the wrist that tops an elaborate layers and jagged edge cuff. This cuff has three full layers of silk and each point of the bottom two layers are adorned with embellishment. This particular style of dress was immediately embraced by women worldwide and Princess Anne wore the runway wedding dress from this runway show for her official engagement photos, a year or so later Bianca Jagger also wore a gown with similar design elements. Rare and very special. Excellent condition.

The bodice is partially lined with an off-white silk chiffon and the rest of the dress is unlined (that leaves most of the exterior dress is entirely semi-transparent giving you the choice of color to layer it over if you wished). It has an elastic waist and slips on to wear with elastic through the cuffs above the tiers. The bodice is embellished with pearlized shell and shell-like beads, as well as other beads and pearls. Hand finished throughout and the fabric itself is entirely hand painted. The underskirt closes at the waist with hook and eye over a keyhole. You could easily use another crinoline and go quite a bit larger with a different crinoline if needed at the waist and as far as volume through the skirt since the skirt that comes with it is very tiny through the waist but the dress will work on a wide range of sizes.

The color is an ivory white with a slight soft grey undertone that is more apparent in dimmer light.

Outer Dress
Sleeves: 31"
Shoulders: no defined seam
Bust lining: 18-20" flat across from side seam to side seam (there would be no defined side seams if this was removed)
Waist: 14-18" flat across from side seam to side seam
Hips: open
Bodice: 16.5" from natural neck to waist
Skirt: 41.5" from waist to hem

Inner Skirt
Waist: 11.5" flat across from side seam to side seam
Hips: open
Length: 40" from waist to hem

Modern Sizing Equivalent: XS only (if planning to wear the underskirt that comes with) OR will fit XS-MED or even LRG if you use a larger underskirt

Item# DD2513

Reference Photos: (1) From the book "Zandra Rhodes; a lifelong love affair with textiles" originally from interview magazine, photo by Francesco Scavullo, 1973.  /  (2) Bianca Jagger for Cosmopolitan, 1974.  /  (3) Princess Anne & Mark Phillips by by Norman Parkinson, 1973.

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 the book that accompanied the Thea Porter exhibit of which we lent a dozen Thea Porter pieces to, author Laura McLaws Helms (who is also a contributing writer for our blog Curated), describes the Faye dress:

"...the Faye dress was high-necked with flowing sleeves, a full skirt and tight bodice. named for her client, the American actress Faye Dunaway, it was usually made of a sheer georgette in a rainbow of colors with a panel of antique brocade covering the chest.... The Faye was continually remade in several variations from 1968 onwards, and was a notable success. Porter reminisced later that: "One night at Elaine's in New York I saw Betty Bacall and Jane Fonda both wearing the Faye dress, luckily in different colors." Constructed from white lace, the Faye dress made for the ideal wedding gown; Thea described the dress as 'nun-like and all-enveloping', yet the transparency of the fabric revealed more then the cut supposed - balancing the design cleverly between modesty and romanticism."

This version is done in cream with a stunning turquoise blue velvet trim on each of the wide full sleeves and circling the lower hem. The antique brocade panel at the front is a stunning textile that subtly works in that same blue but in a more pastel version of it amonsgt the metallic threads. The fabric has been embroidered and trails of cream on cream thread run down it from shoulder to hem. The back is left open in a elongated key-hole that runs between the hook & eye at the neck and the closure at the waist. It is absolutely stunning. Excellent condition.

Fully lined in silk except for the sleeve which are left unlined. Slips over the head to wear with a hook and eye at the back neck and at the waist. Hand finishes

Sleeves: approx 20"
Inset shoulders: 12"
Bust: 17" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of bodice to waist
Skirt: 43" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2463

Reference photos: Both from the book "Thea Porter, Bohemian Chic" Laura McLaws Helms and Venetia Porter. Photo 1: (left) Susanne Elliott at her wedding in a lace Faye dress with long scalloped veil, Lincoln, 1970. (right) Lace Fate dress worn by Susan Elliot, held at the V&A. Photo 2: A Faye dress from 1970, held at the V&A

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 needlework done on this caftan is fantastic - the deep ruby mixed with bits of blue, yellow and green absolutely pops off of the black background and there is an incredible amount of work on it. The caftan is cut long and lean and has a medium weight to it -  light enough so it does not feel bulky but with enough weight to hold the shape. This is partly due to the base fabric which feels like a mix of cotton, linen and perhaps a touch of a synthetic. I love the dramatic panels of hand done needlepoint embroidery work that run extensively down each side  and around the lower hem. More embroidery work runs down each wide sleeve and across the entire front panel in huge breastplate design. The sleeves are fantastic with a wide cut that really shows off the panels of design trailing down each and circling the cuff. It is cut with a classic caftan feel - a simple column that widens out as it nears the hem and slits on either side for comfort when you move and walk in it. It has a great exotic feeling and really makes a dramatic statement. Excellent condition and appears unworn

Unlined and slips over the head to wear. A hook & eye sits at the top of the neck so you can wear it closed so it forms a keyhole or open. The caftan cut allows it to fit a larger range of sizing.

Sleeves: 23.5"
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: 58" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# E600

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.

I strongly feel that this is a designer piece and I have seen the dotted part of this fabric somewhere in the past. I suspect that the girl who snatches it up will receive and email from me one day in the future letting her know I have identified it. It is certainly well made and made of a high quality silk as well. The almost weightless silk used has been tie dyed with a bold and bright palette. It floats over the body with yards and yards of fabric used through the body. This floats over a more substantial inner cotton dress. It gathers softly all around the piped neckline. The sleeves also have a great deal of fabric in them and pouf above there cuffs. It has a matching silk belt that is reversible with the tie dye pattern on one side and the dotted design on the other so you can change the look depending on which side you show or wear it loose and easy and unbelted. I just love the bright patterns against the blue. It reminds me of tropical sunsets. Excellent condition

Fully lined in a coral cotton through the body with the sleeves left unlined. It closes with aback painted metal zipper. Each sleeve has two silk covered decorative fabric buttons and hidden snaps to close the cuff underneath. The fabric tie belt is original to the dress and in excellent condition. Hand finishes inside.

Sleeves: 23.5"
Shoulders: 14.5"
Bust: 18" flat across from side seam to side seam
Waist: 16.5" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 55" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# D552

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 two piece ensemble by Zandra Rhodes in not only rare, but is also quite beautiful. It is constructed from a fine white silk chiffon that is entirely hand painted with Zandra's famous "Field of Lilies" design. The top is cut caftan-like and is a draped confection of silk embellished with pearls and beads. It is cut wide and loose through the body and then dips low over hip. A second layer of fabric circles the neckline and acts as an extravagant collar that ends in a point on both the front and back. This is edged in pearls and more pearls run down and highlight the seams that run vertical to the arms. The print is entirely done by hand and repeats the word "lilies" over its surface. The skirt is wonderful and flows to the floor in a cascade of silk chiffon. On the skirt the pink portion of the hand painted design is used less then it is on the top so you really notice the text that covers the skirt more. Beautiful lilies are hand painted over the surface as well as the field of lilies text that this collection is famous for. The words, 'I love beautiful flower' 'Beautiful flower' 'A lily flower, a lily, a lily' 'A field of lilies' 'Lilies lots and lots of beautiful lilies a field of yet more lilies' 'Zandra Rhodes, Zandra Rhodes' 'Grass' 'Leaves more leaves, leaves green' 'Zandra's beautiful lilies', are written over the surface.

The V&A Museum notes about this print: "Zandra Rhodes considers the Lily prints to be the best of her work, and particularly significant. It was while developing the Lily textiles that she developed the method of reversing the silkscreen to produce a mirror image of the print and create symmetrical patterns. This went on to influence many of her future significant prints, such as 'Lace Mountain', 'Cactus Volcano' and 'Scribble Turnaround'. The Lily prints also represent the introduction of handwriting and calligraphy into her textile designs. Another point of significance for Zandra is that the Lily dresses were the first dresses that she started applying beading to, which would become a future trademark." It is a true work of art, exceedingly rare and very special - it is remarkably close to the Field of Lilies piece pictured in Life Magazine shown being fitted by Zandra herself. Excellent condition

Both pieces are unlined and semi-sheer. The top has no closures and slips over the head. The skirt has an elastic waist and is very generous in cut. You could wear it on the hips if you are smaller or have the elastic inside the waistband shortened to make it smaller if needed. Hand painted fabric.

Top (caftan like fit)
Sleeves: 21" from the drop shoulder
Dropped shoulders: 18" from seam to seam
Bust: to 20" flat across from side seam to side seam

Skirt
Waist: 17 -19" flat across from side seam to side seam with elastic as it is now - this could easily be adjusted smaller if needed
Hips: open
Length: 37" from neck to bottom hem

Modern Sizing equivalent: MED-LRG but note that It would easily work on a small if the elastic waist was adjusted

Item# DD988

Reference photo of Zandra Rhodes with a model from Life Magazine. Credits 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