I have several interesting pieces coming that are from a client whose aunt had most of her clothes made. This dress was made by Ady Couture and the story behind this label is fascinating. Ady Couture was based out of Lausanne Switzerland. She would buy couture fabrics from the couture houses along with the patterns and with permission make copies of the piece presented in the Haute Couture collections. When she was younger, and lived in Amsterdam, Ady would attend the private viewing and purchase directly from the couture houses. My client believes that her arrangement with the ateliers was a way to work around customs that prompted Ady to negotiate this arrangement with the ateliers. In my hunt for more information I have been able to verify that they made this permissible copies of the work of Yves Saint Laurent, Christian Dior, Givenchy and Ungaro. There may have been others but this are the four houses I am confident on. This particular dress is most likely a Givenchy copy from the Fall 1987  Couture collection where Givenchy did a tribute to artist Christian Berard. The entire collection revolved around his work and one of the key elements for the collection was the printing of his work onto the textiles. The bow ribbon print was a primary element used. I have included a reference of a dress from that collection with a similar print. This dress does not have a label but is from the time period that she lived in Switzerland. There is a small possibly it is an actual Givenchy because she was also buying from some more well know labels at the time. It is priced as an Ady piece and the context that it would have with that label. The dress is completely made by hand to Haute Couture standards and it is an incredible piece.

This is a dress that when you see it on the hanger is really doesn't look like much but the second it hit the dress form it came to life. I can only imagine how amazing it will be once on an actual body. It is made out of a rich liquid silk satin that drapes and falls over the body beautifully. The bodice is fitted and it nips in at the waist. The skirt below that falls in a sleek column that wraps around you and overlaps itself at the front. This allows it to open slightly when you walk so you get a bit of leg showing. Attached around the waist is a draped panel of fabric that hooks into place along one hip and then you tie the long extended ties into place. I have tied it into a bow so that there is more volume there. I also shot one photo where it is just looped so that the ties hang long down the side. This gives the illusion of a more voluminous skirt then there actually is and also gives the dress a nod back the forties in feel. At the back it buttons into place with a series of glossy black buttons and the back dips into a low V for a little expanse of skin to show above that. The silk is a true black that has that amazing Berard inspired bow and ribbon print in a vibrant pink screened over it. It is gorgeous. Inside it is completely finished to couture standards with every seam hand finished. I have taken some detail shots for you to see the fine workmanship inside. It is an incredible piece and just beautifully made. It appears to have been worn very little if at all. Excellent condition 

Fully lined in a black silk crepe through the skirt and a silk crepe chiffon through the bodice. It closes with a low set zipper at the back and buttons to close above that. The hip swag wraps around you and hooks into lace with four hook & eye. Hand finished throughout. It appears to have been for very little if at all. Made to Haute Couture standards with a tremendous amount of detail put into its construction.

Bust: to 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: 16" from top of bodice to waist
Skirt: 41" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3673

Reference Photo: Fall 1987 Givenchy.

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 from my same client whose aunt purchased from Ady Couture who I explained in depth in this listing while she was living in Switzerland during the eighties and into the nineties. Prior to that, during the late sixties and seventies her aunt lived in both France and Brussels where she purchased pieces from Louis Mies. Mies was a small independent couturier who did custom work for his clients to couture standards. I have not been able to confirm that he had permission from the houses to replicate their Haute Couture pieces for his clients like Ady did but this dress certainly takes its inspiration from the couture collections. After some research I think this is inspired  by the Fall 1970 Givenchy collection. In that collection he used riffles at the neck and hem quite extensively and also used this same silhouette. Given her overall wardrobe and love of couture and having things copied I am quite sire that this is from that collection. It is stunning and one of my favourite personal pieces form her estate so far. 

This is such a gorgeous dress and it is beautifully made. All of the finished are by hand and it has all those lovely details that you expect in a couture level garment. It is made out of a black silk taffeta and this fabric choice helps it to hold its intended shape. On the main body of the dress the silk has been finished with hand embroidered flowers. Some are a pink with green leaves and then others are a turquoise blue with green. These add a pretty bit of bright fresh colour to the dress and give it such a lovely and romantic feel. The bodice is more fitted and the neckline is set wide across the shoulders. Circling the neckline is a ruffled collar. Two layers of silk have been used and each is sewn into place down its centre so that you get the effect of four layers. They have been sharply knife pleated to add even more texture. These frame the upper shoulders and if you are very slim cut through the shoulders I think you might be able to wear them off the shoulder too. From there the waist nips in and then the skirt flows to the floor and widens out quite a bit as it nears the hem. The bottom of the dress is finished with the same ruffle technique as the collar but there they are set so fold over each other as opposed to open up like they do at the neckline. Inside the skirt is a full built in under-skirt and I love that it has been done in a bright vivid pink silk taffeta. It is like a little hidden secret burst of colour that you will only get a glimpse of when you move or sit. That inner skirt is also finished with a layer of the black silk ruffles and it set slight below the top skirt in length. So the final effect is three layers of ruffles at the hem. Its wonderful and there are even pockets hidden on each hip. The interior is made to couture standards with all the inner seams finished by hand. I have included some shots of the inner seams for you to see. It is extraordinary and the kind of quality and beauty that you will only find with vintage. It appears to have been worn very little. Excellent condition

Fully interlined in a black silk crepe chiffon though the bodice and skirt. Built in pink silk taffeta inner skirt. It closes with a back fine metal zipper and has a waist stay that hooks to close. Pockets on each hip. It looks like its been taken in at some point through the bodice. There is at least an inch and a bit of fabric on either side of each inner seam through the bodice to let it out if needed. The inside is all hand done and it is finished to couture standards. 

Bust: 17" flat across from side seam to side seam
Waist: 13-14" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of bodice to waist
Skirt: 42" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3672

Reference Photo: Fall 1970 Givenchy.

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

Emilio Pucci is one of my favorite designers and every single dress is a work of art. His colors and prints are mixed with a masterful hand and when you get a good piece of Pucci, it is a piece that you can wear for a lifetime. This ones gorgeous. The print on it is floral pattern that is quite bold. The dress is made out of his signature lightweight silk jersey, a fabric that he preferred because of the way it moved and took color. It is screened with a custom print that combines big bright coral tinted red flowers with softer pink leaves. The print has been detailed with black around the edges and the base colour of the dress is an inky black. The pattern runs over the entire dress and gives it a tremendous pop if colour. At the front the neckline is done with two wide cut triangles of fabric that go up and around the neck to hook at the back. This leaves most of the back completely bare. The waist is defined with a broad band of silk jersey that has the same pattern but is set horizontally within stripes of colour. Under that the skirt flows to the floor gently widening out as it nears the hem. A second band of the print circles all the way around the hem. The entire dress weighs ounces and is just wonderful. Depending on your height this will fall to between  midi to full length. Excellent condition with one note below.

Unlined and closes with a back painted metal zipper. The fabric is a silk jersey and does have some stretch. Hand finished. Tagged a vintage Pucci 8 and is very tiny. For some reason the zipper is set into the dress backwards. The zipper pull is on the inside of the dress. I have reduced the dress to accommodate the cost of switching it back if that bothers you. An odd little quirk only found in vintage. 

Bust: 15" flat across from side seam to side seam
Waist: 11" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Bodice: approx 13" from neck to top of band at waist and the band is 3.5"  
Skirt: 35" from bottom of band at the waist to hem

Modern Sizing Equivalent: XXS-XS

Item# DD3671

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 dress and jacket set by Malcolm Starr is a pretty choice for spring. It was designed by Elinor Simmons, who was a young designer that Malcolm brought in to the company to design a higher end line for him in 1965. She eventually left in 1972 which giving us a window within to date this set. Everything about this dress suggest the late 1960s to me. 

Both the dress & jacket have been made out of a heavier silk finished in the palest pink. The fabric choice gives it structure so that the shape you see is held once it is on the body. It is made up of two parts. There is the inner shift dress and then it has a matching jacket that goes over that. The dress has a very simple and easy to wear cut that is classic Malcolm Starr in feel. The bodice is kept very simple with little capped sleeves. It is cut to skim over the bust and waist. The skirt under that flares out slightly as it reaches the hem. The matching jacket is equally well cut with long sleeves and a box cut that ends exactly at the waist. It has a row of metal buttons down the front and a high ad neat little collar. I love that the entire upper neckline of the dress is finished with embroidered butterflies. These sit on a nude netting that wraps up and around your neck and then the butterflies are hand embroidered onto that. It is so pretty. When worn together the lines are lovely. The set is very well made with pretty details. It comes with a matching belt that can be worn to cinch in the waist of the dress or over the jacket as I have shown here. This is also a pretty decently sized set which is nice to find with vintage. The dress is in excellent condition and the jacket has some small flaws as described below. It is priced at a great price as a result.

Both pieces are fully lined in a pale pink silk. The dress closes with a back painted metal zipper and the jacket buttons to close as shown. The jacket has slight fading on both sleeves that carries up a tiny bit across the top of the shoulders. Some tiny faint marks here and there. The very back seam of the dress has been over-pressed at some point and there is a slight line on either of that seam. Minor but mentioned for accuracy. The jacket is wearable as is - at first glance it just looks like how the light is catching it. The belt shows some grubbiness. Please see the photos after the label shot

Dress
Bust: 21" flat across from side seam to side seam
Waist: 19" flat across from side seam to side seam
Hips: 22" flat across from side seam to side seam
Length: 40" from neck to hem

Jacket
Sleeves: 24"
Shoulders: 15.5"
Bust: 20.5" flat across from side seam to side seam
Hem at bottom: 20" flat across from side seam to side seam
Length: 19.5" from neck to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3658

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

This is a very pretty little dress that is made out of multiple layers of a synthetic chiffon. This layered technique and that pretty print give it a soft and romantic feel while the cut stays super sexy. The print on the top layer is done on a pale pink backdrop. Huge pink flowers with splashes of green and taupe cover the entire dress. Under that is a layer of a deep pink and then there is a pinky nude for the final inner third layer of chiffon. It is almost weightless and yet constructed so that it drapes on the body perfectly. The layers of chiffon give it a very floating effect when you move. To wear it you simply wrap it around you and it hooks into place along the waist. The bodice is cut very bare and low. The skirt is gorgeous. It wraps over itself and cuts up at the front so that you see more leg. The bottom hem is cut with a handkerchief finish with some parts longer then others. It is a great little dress. Excellent condition

Made up of three layers of chiffon and wraps to close and then hooks into place. Elastic through the waist. You could move the hooks up or down a bit to get the perfect fit. 

Bust: 17" flat across from side seam to side seam
Elastic waist: 13-16" flat across from side seam to side seam
Hips: open
Length: 16" from shoulder to waist
Skirt: 42" from waist to longest points on the hem

Modern Sizing Equivalent: SML-MED

Item# DD3659

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

This is a beautiful two piece set by Oscar de la Renta. This is classic Oscar with its pink colour combination and feminine feel. The pieces are made to go perfectly together but you can also have them play double duty by wearing them separately. The dress is a classic day dress with a structured fit. The silk he chose is very high quality and it is covered in an exaggerated plaid done in several shades of pink. The choice of silk keeps it light and easy to wear but the construction techniques used for it give it the structure and shape that you see. The top is loose fitting and the sleeves balloon out above their buttoned cuffs. It does up down one side with a series of silk covered buttons. The skirt is gorgeous. It skims over the hips and falls with a slight flare as it nears the hem. On one side at the front he has added a series of flat pleats. These flare and move as you move and create a little extra detail that I love. You can see the care put into it with each line of the pattern in the silk brilliantly lining up with the ones beside it where the pleats close. It comes with its original silk covered wide belt that you use at the waist to cinch the dress in. Over this goes the matching pink coat that has been lined in the same pink silk as the dress. So if you wear the coat open you see the same fabric. I love that. The exterior is done in a light woven boucle feeling fabric done in several tones of pink. It has a boxier straight cut through the body with one pocket at one side. It closes with a series of large hand carved wooden buttons. It is marvellous together and classic Oscar. Excellent condition with one small note below. 

The dress is lined in an ivory silk through the body with the sleeves unlined. It closes down the front with buttons as seen. Snaps close it under the waist line and there are snaps to close each cuff. An inner waist stay hooks to close and there is padding in each shoulder. The coat is lined in a matching silk to the dress and buttons at the front with hand carved wood buttons. There is small padding in each shoulder and the pocket on the front is functional. The set comes with its original slip buckle belt. The belt has some grubbiness and there is one tiny spot on the front side of the dress. Please see the photo after the label shot. Tagged a vintage OLDR 12

Dress
Sleeves: 27" but do come up once on
Wide set shoulders: 17"
Bust: to 20" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: dropped - 17" from neck to waist
Skirt: 23" from waist to hem

Coat
Sleeves: 24.5"
Shoulders: 16.5
Bust: to 20.5" flat across from side seam to side seam
Waist: 20" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Length: 40" from neck to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3660

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

This dress is from the early 1990s and I think it is from around 1992. His 1992 collections featured a ton of dresses with this same boy short finish inside. It is interesting to note that his dresses from this time period were as well known for their prices as they were for their extreme shortness. In a 1992 article in Elle Magazine they reported that his collection was 'extraordinarily pricey with cardigans run around $1,400 and dresses between $2,500 and $3,500' (just under $7,000 in modern dollars). This was in part due to the specialized fabrics that Alaia was developing. In the text found in that same 10 page spread, Azzedine is said to have been 'delighted in the space-age fabric he used for his Spring 1992 collection. He calls the NASA-developed material 'Relax' for its purported ability to act as a screen against microwave emissions'. Azzedine produced two versions of this dress and I have both versions in the shop today. At first glance they look very similar. This version is the more couture of the two and the hem is finished with extensive hand beading and a real metallic thread. There are also hand placed mirrors worked into the hem. As a result this one is to more expensive but also the one that is more rare and harder to find. Less of these more elaborate versions would have been produced. 

The dress is made from one of Alaia's iconic black stretch knits. These were made to hug the body and define every curve while cleverly smoothing out everything underneath. The neckline is set wide across the front and it and scooped on a square off shape at the corners. It is cut low on the bust and it is finished with a touch of scalloping to the edge. This is a detail that he started to use around this time period and that you still see on the house's designs to this day. The way the knit has been made gives it a structure that is built right into it. Once on the body it shapes and molds the body underneath it while never feeling to constrictive. Alaia pieces are remarkably easy to move in and have more ease to them then some of the other 'bandage' dresses from other designers of this time period who were doing similar body conscious dresses. The sleeves and body of the dress are made from a more flat weave knit that is opaque. Under that the skirt starts low on the hip is cut to swing around you as you walk. It is very short and the knit has a more open weave to it that gives it a semi-transparent finish. The edge of the skirt is finished with an amazing combination of hand set glass beads and marquise shaped mirrors. The beads are done in little stacked horizontal rows on top of a raised vertical metal thread. Mirrors are set by hand in between the rows and and each mirror is held in place by metal thread using a North Indian technique called Abla or Shisha. This gives the skirt some weight and I love the fullness of the skirt and the movement it has once it is on. Under the skirt are attached and fitted knit boy shorts that snap into place. So when it is on you see through the skirt but are fully covered with the short shorts underneath. This is a very rare dress from one of the greatest designers of our time. It is entirely original. Excellent condition.

Unlined and closes at the back with a hidden set zipper. The inner boy shorts snap to close. There is the slightest bit of sheen to the fabric near the seam under each arm. The mirrors show some patina which is a natural part of aging with this type of paste mirror. Tagged a small and the fabric has stretch so should fit a range of sizes. The measurements show the comfortable range laying flat. 

Sleeves: 24"
Shoulders: 14"
Bust: 16-20" flat across from side seam to side seam
Waist: 11-14" flat across from side seam to side seam
Hips: 15-20" flat across from side seam to side seam
Length to inner boy short: 27-30" from shoulder to inner snaps of shorts 
Length: 33" from shoulder to bottom hem of skirt

Modern Sizing Equivalent: XS-MED

Item# DD3001

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 have several interesting pieces coming that are from a client whose aunt had most of her clothes made. This dress was made by Ady Couture and the story behind this label is fascinating. Ady Couture was based out of Lausanne Switzerland. She would buy couture fabrics from the couture houses along with the patterns and with permission make copies of the piece presented in the Haute Couture collections. When she was younger, and lived in Amsterdam, Ady would attend the private viewing and purchase directly from the couture houses. My client believes that her arrangement with the ateliers was a way to work around customs that prompted Ady to negotiate this arrangement with the ateliers. In my hunt for more information I have been able to verify that they made this permissible copies of the work of Yves Saint Laurent, Christian Dior, Givenchy and Ungaro. There may have been others but this are the four houses I am confident on. I feel that this particular dress has a more Dior feel to it and it might even be a design that pre-dates the decades (the late 70s to 1993) where my client's aunt was buying and living in Switzerland. The dresses are completely made by hand to Haute Couture standards and are incredible pieces.

This dress is spectacular. The fabric is extremely high end and the workmanship is amazing. It is the perfect LBD. The design is very Dior and has the feeling of Dior's earliest work and in particular his last collection of 1957 where he used the shawl collar with a flower to anchor them. The collar is amazing. It is cut to wrap around you and sits high up and above the shoulders to frame the face. It is made out of a matte silk satin and I love the way that it drapes and folds into place. It creates a fabulous 'film noir' feel. At the front where is meets and hooks into place is a removable silk and velvet flower that adds detail and a touch of romance. I love that the flower was kept black so that the eye is not suddenly jarred. The tone on tone feel this creates is wonderfully dark and rich. Underneath is a simple pencil skirted dress that is made out of a moire silk taffeta in black. It skims over the bust, goes in with a seam at the waist and then falls in a sleek pencil to just past the knee. The shoulder have a light padding and you can see the hand done work and silk edging that they have added in the shot I have included here. The dress comes with its original silk covered belt that you can use to really add shape through the waist. Inside it is hand lined in a sensual black matte silk satin. The workmanship is of the highest quality and I had added an interior shot so that you can see how beautiful it is finished. It appears to have been worn very little if at all. Excellent condition 

Fully lined in a black silk satin and closes a back metal zipper. The belt buckles into place and the interior shoulders are lightly padded. It appears to have been for very little if at all. Made to Haute Couture standards with a tremendous amount of detail put into its construction. 

Bust: 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Bodice: 15" from top of bodice to bottom of band at waist
Skirt: 24.5" from bottom of band at waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD

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

This dress is from the early 1990s and I think it is from around 1992. His 1992 collections featured a ton of dresses with this same boy short finish inside. It is interesting to note that his dresses from this time period were as well known for their prices as they were for their extreme shortness.In a 1992 article in Elle Magazine they reported that his collection was 'extraordinarily pricey with cardigans run around $1,400 and dresses between $2,500 and $3,500' (just under $7,000 in modern dollars). This was in part due to the specialized fabrics that Alaia was developing. In the text found in that same 10 page spread, Azzedine is said to have been 'delighted in the space-age fabric he used for his Spring 1992 collection. He calls the NASA-developed material 'Relax' for its purported ability to act as a screen against microwave emissions'. Azzedine produced two versions of this dress and I have both versions in the shop today. At first glance they look very similar. This version is the more subtle of the two and the hem is finished with a grey knit finish and series of diamond shapes that run all the way around. As a result this one is less expensive then the other one I have today but you get the same feel as the more intricate version just not with quite the same level of workmanship at the hem. 

The dress is made from one of Alaia's iconic black stretch knits. These were made to hug the body and define every curve whole cleverly smoothing out everything underneath. The neckline is set wide across the front and it and scooped on a square off shape at the corners. It is cut low on the bust and it is finished with a touch of scalloping to the edge. This is a detail that he started to use around this time period and that you still see on the house's designs to this day. The knit has structure built into it and once on the body, it helps to shape and mold the body underneath it while never feeling to constrictive. Alaia pieces are remarkably easy to move in and have more ease to them then some of the 'bandage' dresses from some of the other designers of this time period who were doing similar body conscious dresses. The sleeves and body of the dress are made from a more flat weave knit that is opaque. Under that the skirt starts low on the hip is cut to swing around you as you walk. It is very short and the knit has a more open weave to it that gives it a semi-transparent finish. The edge of the skirt is finished with vertical rows of a raised silver grey knit that has a boucle feel to it. Little marquis shapes are created by shaping the grey knit around the black base. The knit detailing there gives the skirt some weight and I love the fullness of the skirt and the movement it has once it is on. Under the skirt are attached and fitted knit boy shorts that snap into place. So when it is on you see through the skirt but are fully covered with the short shorts underneath. This is a very rare dress from one of the greatest designers of our time. It is entirely original. Excellent condition.

Unlined and closes at the back with a hidden set zipper. The inner boy shorts snap to close. Tagged a medium and the fabric has stretch so should fit a range of sizes. The measurements show the comfortable range laying flat. 

Sleeves: 22"
Shoulders: 14.5"
Bust: 17-20" flat across from side seam to side seam
Waist: 12-15" flat across from side seam to side seam
Hips: 17-21" flat across from side seam to side seam
Length to inner boy short: 30-32" from shoulder to inner snaps of shorts 
Length: 33" from shoulder to bottom hem of skirt

Modern Sizing Equivalent: SML-LRG

Item# DD2976

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 twin of this dress was Look 68 on the Spring 2015 runway. In 2015 Valentino was headed by both Maria Grazia Chiuri and Pier Paolo Piccioli. They had stepped into Mr Valentino's shoes and were breathing new life into the brand. In the Vogue review for this collection they specifically noted the seaside themed dresses: 'The collection was poetic, graceful, and beautiful. Chiuri and Piccioli touched on many of Italy's patrimonies, from its antiquities all the way down to its kitsch... the designers lavished special attention on the seaside, printing some gowns with starfish and snails, and embroidering others with shells, sailing ships, and underwater creatures like the Portuguese man-of-war....as always, it was the workmanship that astounded, be it extravagantly done, as the feather-embroidered numbers were, or more naively wrought, like those sea creatures. "In this moment when everything is synthetic, digital, and flat, you need something more human. To dream, you need to feel something, not just to see," said Piccioli.'  The dress was an instant success and sold out worldwide. It has the added provenance of have been used for the Valentino ad campaign that season and it was featured in the Fed issue of Vogue. 

The dress is made from a fine silk chiffon that is entirely cut on the bias. This is what lets it move so beautifully over the body once it is on. When you walk the fabric catches the air and billows out around you. The design that is screened onto the silk is one of the labels signature coral patterns that was first seen in 1969 for the Haute Couture collection. The silk is a soft off-white and the coral print is finished in a soft neutral palette that plays perfectly against the pale ivory chiffon. It is almost weightless and yet constructed so that it drapes on the body perfectly. The skirt falls to the floor in a sweeping expanse of fabric. The skirt is made up of three layers of silk chiffon. There is the top printed layer and then there are two layers of ivory chiffon underneath that. This is what gives it its lightness and the floating effect it has when you move. The bodice drapes softly over you at the front. The waist is seamed for shape and the back is left bare with a low scoop that sits on an angled curve that swoops down one side. There is a silk covered elastic band that runs across the back to hold the dress in place. If you prefer it to be completely open you could easily remove this so you could get even more of an open and bare feel. At the front the top is cut in a classic one shoulder that curves up and then ties into place with long ties that meet it from the back. It is very beautiful. It looks to have never been worn or worn very little. This would also make a stunning wedding piece for the bride looking for something non-traditional or for an event over a wedding weekend. Excellent condition

Fully lined in an soft ivory coloured silk chiffon that is also cut on the bias. The skirt is made up of three layers of silk chiffon as described above. It closes with a low back hidden set zipper. The strap that goes across the back is attached on one side and hooks to close on the other with a row of four hook & eye. The shoulder ties into place with long attached ties. Inner waist stay hooks to close. Tagged a US8

Bust: to 17" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Bodice: approx 15" from top of bodice to waist and can be adjusted
Skirt: 42" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3022

Reference Photos: (1-3) Valentino S/S 2015, Look 68. Model: Irina Liss.  /  (2) Photo by Mario Testino, Vogue US, Feb 2015.  /  (3) S/S 2015 Valentino Ad.  /  (4-5) Cherie, Owner of Shrimpton Couture, by Erin Leydon. Cherie is wearing a Magnetic Midnight X Shrimpton Couture 'Stardust' Headpiece.

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

It was during a visit to Tokyo in 1971 that Zandra first started sketching lilies after being sent lilies to her hotel room and the resulting print debuted in her 1972 Spring collection. The Lilly prints have become one of her most iconic and best known prints. Pieces from these original collections are hard to find and they are some of the most sought after of all her vintage pieces. 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. Zandra herself once said that she loved these prints and that they 'represent the best of my work'. I also found a reference to them in notes from the V&A Museum: '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'. This dress is a rare find and it is magnificent. 

This dress is one of the more complicated of her Lily dresses from that season. Versions of it with ruffled detailing at the collar and edging the sleeves were photoed on Twiggy and Anjelica Huston. I have also included two reference photos of the similar dresses from this collection found in her book 'The Art of Zandra Rhodes'. The skirt of this one is cut the same as those but with even more ruffled netting at the bottom. The sleeves have that same tremendously wide cut that you see on both examples and are gorgeous. Pat Cleveland was also captured modelling a version and you really get a sense of just how full the skirt is from that photo. 

The dress is gorgeous. The first thing that you notice is that parts of it are actually the palest mint green that has a touch of blue in it. The colour is brought out in the skirt even more when you wear the matching underskirt that goes with it. This is because the inner part of the underskirt is finished in a pale baby blue silk. When layer over each other you get this amazing depth in textures and colour. To wear the dress you slip on the inner petticoat and then the silk dress is layered over that. The bodice is cut loose and full. The front dips into a low plunge that goes right to the waist. The entire bodice has been hand painted and you can actually feel and see the paint on top of the silk. The front is embellished with her signature flower shaped palettes with a pearl finish. The sleeves are magnificent. They are cut to fall tremendously wide and full. They drop right past the hip at the their longest points and they give the dress that wonderful dramatic feel while playing homage to the trip to Japan that led her to the Lilies print and the culture there that she fell in love with. The waist is a wide gathered elastic band and the skirt below that flows full and soft to the floor. The skirt is a literal work of art. On the upper part of it are her beautiful lilies that have been hand painted onto the silk. Amongst those you see one of her very earliest field of lilies text that she is famous for. Ruffles made of silk netting run down each side and then the entire bottom of the skirt is finished with ruffled ad curved tiers of silk netting. This gives the dress tremendous texture and a sense of romance. The layering and mixing of the ruffles, the netting, the hand painted silk and the play on colours and textures is genius. It is a true work of art. There is some fragility to the silk netting at the hem of the outer layer so please read the condition report below carefully. It is still wearable with care. This is a very rare and special piece. It is a true piece of fashion history. This would be an incredible choice for a bride who does not want a traditional wedding dress or as part of a wedding event. Presents as excellent condition with notes to review below.

The petticoat is made from a blue silk that has layers of soft tulle attached over it. The top layer of tulle on the underskirt has a ruffled silk net lace at the edge of the hem. It closes with hook & eye at the waist. The outer silk chiffon dress slips over the head to wear with elastic running through the waist. I see repairs and changes to the weave in the silk netting all through and around the bottom hems and I would rate some parts of the netting as very fragile and the netting is fragile overall. The silk netting is almost gossamer to start out and it is very delicate. There is so much volume through the skirt that the repairs get lost in the folds and netting. I see one small hole on the top of the front near the shoulder. The decision was made to just steam it out and not have it cleaned to not do anymore damage to the silk netting. It is wearable with care as it is and is in clean sound condition otherwise. Please see the photos after the label shots for the shoulder flaw and examples of the netting. 

Note that the size is based on the outer dress. The inner petticoat is currently a XS-SML in size but could be adjusted so I deferred in some to the outer dress. 

Outer Dress
Shoulders: no defined seam
Sleeves: approx 39" to longest points
Bust: no trued defined side seams
Waist: 15-17" across
Hips: open
Bodice: 13: from neck to top of elastic at waist
Skirt: 51" from top of elastic at waist to longest point at the back hem

Petticoat/Inner crinoline
Waist: 11-12" flat across from side seam to side seam depending on how you hook it to close. You could easily add some fabric to the waist band to expand this if needed
Hips: Open
Length: 42" from waist to hem

Modern Sizing Equivalent: SML-LRG

Item# DD3655

Reference Photos: (1) Anjelica Huston in Zandra Rhodes, Shot by David Bailey, Vogue UK, September 1973.  /  (2) Butterfly Dress no. 67, in 'Reverse Lily' print on silk chiffon; ruffles and frills on skirt in net; and satin sash.  /  (3) Twiggy on the cover of Vogue (top) and photograph for Harpers Bazaar (in Butterfly no. 67) (bottom).  /  (4) Butterfly Dress no. 70 - Off shoulder crinoline, in 'Reverse Lily' print on silk chiffon; net curtain ruching and frills in skirt.  /  (5) Pat Cleveland modelling Butterfly no. 70.  (Last four photos from the book "The Art of Zandra Rhodes").

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

Jacques Fath showed his first collection of just twenty garments in the spring of 1937. It was received well and he steadily built a strong clientele and became of of the busiest ateliers in Paris. He eventually expanded into the America through the American manufacturer Joseph Halpert. In 1949, Fath signed an agreement to produce two ready-to-wear collections a year with Halpert. This dress is from that early label and it has some extra historical significance since this agreement was one of the first of its kind between a couturier and a RTW company. The Fath label was shuttered in 1957 after Fath's death three years earlier. One of his signature looks was a low plunging neckline and this dress has just that. 

The dress is not perfect bit it is still so beautiful that I hope that someone can love it for its history and beautiful lines. The fabric that it is made out of is incredible. It is a silk organza and it feels like it has been treated with something that has added a touch of stiffening to it. Silk organza already has an incredible ability to hold its shape while being virtually weightless and this fabric seems to have just a touch more hold then usual. The silk has been dyed to the perfect nude blush pink. The fabric is semi-transparent and but there is so much of it that there is a real illusion effect created. A modern woman could wear this with a full structured underdress, choose a simple light slip or even just wear only nude undergarments under it if she dared. The dress curves over the shoulder with wide straps and then crosses over itself at the front. There are tiny pleats that you see as it gets closer to the waist. The waist is cinched for shape and then more of those tiny and perfect pleats circle the hips and open to the extraordinary skirt. There are yards and yards of fabric in the skirt and it is cut to perfection. The hem is cut so that the sides are slightly longer then the front and I love how it has volume even without anything underneath. There is so much fabric in there that you could easily add a crinoline if you really wanted it to be very full. The dress does have some flaws. It is sound and wearable but please review the full condition report below.  

The dress closes with a side painted metal zipper and is unlined. I see a small tear in the fabric near the waist and another near the base of the arm opening. There are stains throughout the skirt that are primarily near the hem but there are some higher up as well. I see a couple of small well done repairs. Please see the photos after the label shot. There looks to be older repairs to parts of the seams on the bodice and a repair beside the zipper at the back. It is sound and wearable as is with care. It could be easily worn as is for a shabby chic feel or perhaps dyed to hide some of the discolourations.

Bust: 17" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: open
Bodice: 15.5" from top of bodice to waist
Skirt: 57" from waist to longest point of hem

Modern Sizing Equivalent: XS-SML

Item# DD3656

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 little Yves Saint Laurent dress has such a joyful feel to it. I am always excited to find examples of Yves' work from this time period and this one is extra special because it is the twin of the dress that was shown on the 1983 runway. We also found a editorial shot from that season with the same dress in a solid colour that was shot for L'Officiel magazine. I love the solid colour version as well but the printed one just has so much colour and joy to it I can't help but love it a little more. 

This is a gorgeous little day dress that you could easily style to work into the evening, especially during the warmer months. The colours are amazing and absolutely pop off of the cotton fabric that he chose for this dress. Cotton takes colour extremely well and it is the perfect choice to get these crisp vibrant tones. It also holds the shape well so that the dress has volume where Yves wanted it. Yves Saint Laurent was a master at choosing the fabrics that were the perfect compliment to the prints that he used. This dress is no exception to that rule with its riot of bright flowers covering its surface. The cut is pure Yves and a wonderful example of the work he was doing during this time period. The sleeves end just below the elbow and are cut with a full balloon sleeve pouf above their wide and easy elastic cuffs. The bodice is fitted with a V neckline at the front. The upper portion of the bodice is done in the same floral fabric as the sleeves and skirt but he then inset a blue fabric to define the waist and visually cinch it in. He then plays with proportion by adding a blue cotton peplum that runs all the way around the hips and flares outwards. Below that the skirt flares out with a pretty swing feel. The combination of the prints and the cut is genius. Excellent condition with a minor note below

Unlined and zips to close at the side. It is tagged a vintage YSL 36. It appears to have been worn very little if at all but there is some fading to the tops of the curves on the peplum. You notice it more when it is off the body and laying flat but not when on. Please see the photo after the label shot. 

Sleeves: 19"
Shoulders: 14"
Bust: 18" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 15" from neck to waist
Skirt: 25" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3653

Reference Photo: (1) S/S 1983 Yves Saint Laurent Rive Gauche Runway.  /  (2) Yves Saint Laurent Rive Gauche, L'Officiel, 1983.

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

Geoffrey Beene was one of the great American fashion designers and he was recognized for both his artistic and technical skills. He launched his label in 1963 and a piece from his very first collection landed the cover of Vogue. A Coty award followed a year later and in 1984 the Council of Fashion Designers created the annual Geoffrey Beene Lifetime Achievement award in honor of Beene's fashion legacy. This dress is from the Fall 1984 collection and we found an amazing editorial photo of it in the September issue of Vogue that year. It is one of my favourite things in the shop and it is even better in person. 

I am completely in love with this dress. It is so representative of his work and is just a gorgeous little dress in its own right. The silk that he chose for the dress is a fine silk taffeta that holds the volume and shape that he wanted while still keeping the dress light and airy feeling once on the body. The colour are a blend of a silver toned grey with a large black floral print over it. The sleeves are puffed and they have lots of volume built into them. The neckline is high and the bodice is cut to to be more fitted. Into the silver silk taffeta below the neckline there is an inset made out of a semi-transparent silk that has a metallic lame finish. This angles up into a peak at the front and then wraps around the sides. It goes from the top of the peak in height right down to the waist seam. Set along the angle of the front peak is a long panel of the same metallic silk chiffon. These extend out into extra extra long ties. You cross them over each other and then you can wrap them around your body. For the shots here I have tied them at the back but they are long enough that you could wrap them around you and tie at the front as well. Depending on how you tie them you will get a glimpse of skin through the inner front panel. You can style the ties to take advantage of that and show more of the transparent panel or tie them so that it completely covers it for a fully opaque feel. This play on transparent cut-outs is a staple of Beene's work as he progressed into the nineties and I love seeing it in this earlier piece. Below the waist the skirt falls to the floor in a cascade of silver and black. There are many yards of silk that have been used to construct the skirt so when you move you can really get a sense of its fullness. You could probably add an underskirt if you wanted it to be even fuller. Underneath the top layer of the skirt is built in silk chiffon underskirt that is edged  in a wide panel of black lace. The lace is finished with a curving scalloped edge and when you move or sit you get just a peek of it from underneath. Square polished buttons down the back are the perfect finishing touch. It is gorgeous. Appears to have never been worn or worn very little. Excellent condition.

The skirt is fully lined in a black silk chiffon that is edged with a wide panel of scalloped black lace at the hem. The bodice is also lined in a black silk chiffon. It close with a series of buttons down the back and a low back zipper at the waist. The inner waist hooks to close. Each sleeve has elastic in its cuff and they are cut wide and easy. The ties are attached at the front as described above. It appears to have never been worn or worn very little.

Shoulders: no defined seam
Bust: 18" flat across the back from side seam to side seam
Seam at low waist: 13.5" flat across the back from side seam to side seam
Hips: open
Bodice: 16" from shoulder to low waist seam
Skirt: 40" from waist seam to bottom hem

Modern Sizing equivalent: SML-MED

Item# DD1904

Reference Photo: Vogue, September 1984.

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 Balmain transformation from what it was originally to what it is today began when they hired Christophe Decarnin. He was the designer that gave it its edgy feel that has continued to the present day under Olivier Rousteing, the label's current Creative Director. When the Fall 2008 collection showed Vogue's Nicole Phelps said in part: 'And as promised, Spring's haute hippie feathers, fringe, and tie-dye were replaced by an all-Billy Idol soundtrack and enough leopard-print chain mail, python-pattern denim, and crystal-embroidered lightning bolts to make you wonder if there was anything at all left on the shelves at Trash and Vaudeville. To be fair, Decarnin's creations are much finer than the East Village emporium's, but they appeal to a similar kind of chick, one with a killer body and an active nightlife.' The twin of this dress closed the show and it is perhaps one of the most memorable and significant pieces that Decarnin designed for the label. It was produced in very limited quantities and instantly sold out world wide despite a very hefty retail price. 

The dress is incredible and the skirts are all still their original lengths. I note that as I have only ever seen one other of these for sale and it had its skirts shortened at some point. The length is integral to the design in many ways. The skirt panels are incredibly long and light in weight so that when you move they float and billow around you as you can see in the runway footage. Above the skirts it is extremely fitted long curving bodice that is constructed to highlight your every curve. On the interior of the bodice there is a full boned corset with built in cups. The corset is cut to run from the bust to the top of the hips so that you are molded and shaped into place. On the outside the silk is hand draped and placed into position to form soft gathers that run around you. A huge zig zag bolt runs down the front. It is densely covered in crystals and it separates the prints on either side of you. The silk on one side is zebra and the silk used for this is a light scarf weight silk. The other side is finished in a black and white leopard print. On that side the silk is more of a silk faille and slightly heavier in weight then the zebra printed silk is. This change in weights of the silk is genius because it means that the way the silk moves in the skirts changes and you get more movement. The crystal covered panel that divides the two printed sides curves over just one shoulder and then runs down the front in the dramatic zig zag that you see. At the back it extends just past the shoulder and curves to the side. To close the dress Decarnin  has used one of the signature chunky Balmain zippers to divide the two prints. The zipper is set on a curve that follows the curve of your body and it becomes an incredible design detail in itself. The dress is fitted to the top of the hips and then the skirts flare out into long trains of fabric. The predominant part of the skirt is made from the leopard print and this is set on a curve at the hem that extends out to the side and to the back. There is a smaller panel at the front that is made out of the zebra print silk that also extends out and back. Where the two fabrics meet at the front side, they are only attached at the to and not together. This means that an opening is created that goes right up to the top of the thigh. When you move your entire legs shows. We have included the runway footage for reference so that you can see just how incredible it is when it is on and you walk. Excellent condition with a minor note below.

The inner bodice has a fully built in boned corset made from a nude colored lingerie stretch corseting nylon fabric that has built in cups and is finished by hand. The fabric is hand draped over this and the crystals and lightening bolt have been attached by hand. It closes with a curved set zipper that allows the form fitting construction of the dress. Tagged a 40. There are a couple of small repairs along the hem of the trained skirts. Some tiny pulls in the silk of the bodice. Please see the photos after the label shot. Hand finished throughout. The inner foundation garment does have some stretch. You might be able to squeeze out a bit more room when on a real body.

Bust: 15-17" flat across from side seam to side seam
Waist: 11.5-12.5" flat across from side seam to side seam
Hips: 16.5-17.5" flat across from side seam to side seam
Bodice: 33" from top of shoulder to bottom of inner foundation garment
Skirt: 28.5" from bottom of inner foundation garment to shortest hem, 53" to the longest hem

Modern Sizing Equivalent: XS-MED

Item# DD3115

Reference Photos: F/W 2008 Balmain Runway, Final Look.

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

This is a rare example of Hanae Mori Haute Couture from the Spring 2000 collection. This dress is an especially  interesting couture example because it illustrates how couture pieces are made specifically for the client when they are produced and are not always an exact copy of what was shown on the runway. The dress itself is a sleeveless version of Look 7 from the Spring 2000 runway but the print on the silk was shown in the Fall 1990 Haute Couture collection. I have included a reference photo of both of those for you. I love the idea that the client had this dress made but somehow saw or remembered the print from a full ten years before this and asked to have it made in that earlier print. It just shows how much love and care goes into couture and how it is truly made for each individual client. Hanae was the first woman of Japanese descent to have presented on the Paris and New York Runways and the first Asian woman to be admitted as an official Haute Couture house to La Chambre Syndicale de la Couture Parisienne. Haute Couture examples by her are a rare find and this one is exceptionally beautiful. With its level of customization it is most certainly the only one that would have ever been made. 

The dress is entirely made by hand and is stunning. It is suspended from the shoulder by two tiny silk straps. These curve over your shoulders and meet the peaked bodice at the front and the dropped edge at the back. The bodice is hand draped to create soft folds that follow the curving angle of the panels. I love how she has mixed two shades of silvery greys there. The front is set in high peaks above the breasts and it dips at the front into a V. It then curves around the back to leave the upper back exposed. The silk hugs in and around the lower back. The skirt is set into that structured bodice giving it a touch of an empire feel. It has one of her custom designed prints screened onto feather light silk layers on both the exterior layer and on the inner dress. The print is a beautiful forested mountain scene that is done in grey-scale. This runs from the hem to to about the hips all around the dress. In the ivory above the forest print you see her signature butterflies floating on the imagined air currents. Some of the butterflies are almost ghostly in the way that they are printed onto the silk and they are incredibly beautiful. The scene is printed on both the silk chiffon top layer and the silk twill inner layer. This allows the two prints on each layer to be slightly offset as they float over each other giving the print an extra dimension of depth. Doing this layered technique is one of her signatures. By using a slightly transparent silk chiffon for the top layer she also builds in that sense of lightness that the dress has. The skirt widens out as it nears the hem as the front and has a softness to it as the chiffon floats over the inner layer. At the back it is cut longer then the front and flows down and past the ground beautifully. The movement and drama this creates is extraordinary. This dress came with a huge single layer silk chiffon shawl that has that same forest and butterfly print screened onto it. It is so large that it creates a caped effect if you decide to wear it simple draped over the shoulders. You could wrap and style it many different ways for different styling effects. It just adds to the air floating feel the dress has and it is wonderful to have this little extra bit of romance. The dress is a stunning example of her work and beautifully made. Finding her true couture pieces is rare. This would even make a beautiful wedding dress for someone looking for something non-traditional. Excellent condition

Fully lined in a hand set cream silk. It has a fully built in inner boned bodice that closes with its own independent zipper. A second hidden set zipper closes the exterior. The top silk chiffon layer of the skirt hides the zipper below it and closes over the zipper with her signature teeny tiny fabric covered snaps. An inner waist stay hooks to close. Hand finished throughout to Haute Couture standards. The proper Haute Couture label is present and it has its hand written couture tape underneath marked #C 1109 5.4.2000. There is the very faintest of tiny marks to the silk just below the waist line. Perhaps the tiniest of pulls to the fabric here and there and a small bit of scuffing to the inner lining of the train. Please see the photo after the label shot for the exterior mark noted here. All minor and other wise is appears to have been worn very little if at all unworn.

Bust: 18" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Hips: to 20.5" flat across from side seam to side seam
Bodice: 15.5" from top of bodice to waist
Skirt: 44" from waist to shortest point of front hem, 59" to the back hem
Shawl: 36" x 124"

Modern Sizing Equivalent: MED-LRG

Item# DD3020

Reference Photo: (1) Hanae Mori F/W 1990 Haute Couture Collection.  /  (2) Hanae Mori S/S 2000 Haute Couture Collection. (3-4) Cherie, Owner of Shrimpton Couture, by Erin Leydon. Cherie is wearing a Magnetic Midnight X Shrimpton Couture 'Shooting Stars' Headpiece - available on the site here >

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

This is a gorgeous little dress in a deep rich jewel toned burgundy velvet. The velvet gives it depth and the colour changes a bit depending on the light you are in from a deep deep burgundy to a lighter more ruby feeling tone in brighter lights. The cut is simple but has a lot of impact. It is cut to plunge extremely deep at the front. Two elongated triangles curves up and over each breast. A crepe tie runs through each of those at their tops and the wraps around and through the panels of velvet at back and then tie they into place. The front is left completely open on each side and it plunges between the triangle at the front to below the waist. At the waist there is another crepe tie that runs through the seam to tie and adjust it. There is also a hook so that you can choose to close the plunge at the waist and leave a keyhole under that or just use the ties to let the plunge go all the way down. At the back there are two long panels that run from the waist to the neck leaving the back almost completely bare. The skirt falls to the floor from there with just a touch of widening to it as it nears the hem. It's fabulous. Excellent condition 

Fully lined in a burgundy silk. It slips on to wear and you adjust the neck and waist with the ties. There is some fraying to the tie at the neck. Please see the last photo provided. Its cut should allow it to fit a range of sizes. 

Bust: variable - each triangle is 7.5" flat across at the widest part
Waist: to 16" flat across from side seam to side seam and can be adjusted with the ties
Hips: to 18" flat across from side seam to side seam
Bodice: 14" from top of bodice to waist
Skirt: 45" from waist to hem

Modern Sizing Equivalent: XS-MED

Item# E692

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

This is a lovely dress whose fabric is phenonemal. It is by the Italian designer Franco Bertoli and you can clearly see its references to the great Italian designs who worked in similar velvets to this like Fortuny and Maria Monaci Gallenga. The dress has a simple cut. The bodice is more fitted and has a seam set under the bust. The lower part of the dress is set into that seam and widens out gradually to the hem. This leaves it loose and easy through the lower part of the body. Each sleeve is cut with a wide flare at the end and you can see how this adds a beautiful line to the dress. The sleeves add movement and drama to the dress and really give it that caftan feel. The fabric is just beautiful. It is a deep deep red and the velvet is soft and plush. Onto it there is a hand painted gold pattern that has those gorgeous large medallions running over the entire dress. You can see and feel the gold on the velvet and it really is just an amazing piece. This is the type of dress you will only ever find in vintage. Excellent condition 

The body of the dress is lined in a burgundy silk and the sleeves are unlined. It closes with a back zipper. There is a hand written numbered tag on the interior at the hem. Hand finishes throughout and hand fines inner seams

Sleeves: 25"
Shoulders: 14"
Bust: 16" flat across from side seam to side seam
Seam under the bust: 15" flat across from side seam to side seam
Natural waist - hips: open
Bodice: 10" from shoulder to seam under the bust
Skirt: 39" from seam under the bust to hem

Modern Sizing Equivalent: XS-SML

Item# E693

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

This is a beautiful early 1930s dress that is the most striking jewel toned merlot coloured silk velvet. The colour is so dramatic and rich feeling. That, combined with the bias cut that it has and its lovely cut, make it one of the best thirties pieces I have seen in a while. It feel incredibly modern despite being almost 100 years old. The cut is stunning and everything you want from a dress from this era. The bodice is cut into a softly draped halter that curves over the breasts and plunges down at the front. Two velvet straps curve over each shoulder and run down to meet the low set seam at the back. This leave you bare across the back. The front plunges to the angled seam set under the bodice. The skirt is set into that seam and it is completely cut on the bias. There is actually several yards of fabric in the skirt but when you stand still it falls in one beautiful sleek column. It is only when you move that the amount of fabric that is actually there is revealed. It is well made and hand finished throughout. There is a B. Altman tag on the inter of the skirt. It is a beauty. Excellent condition with a minor note below

Unlined and closes with a side set metal zipper. I see one tiny repair on the interior of the bodice and there are some minor flattened marks on the back skirt. Please see the photo after the label shot. The bust has a lot of draped fabric so should work on a variety of cups

Bust: 16-18" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: open
Length: 62" from shoulder to hem but will come up a bit when on the body

Modern Sizing Equivalent: SML-MED

Item# E694

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 coat would have been designed while Youssef Rizkallah headed the company. Youseef joined the Malcolm Starr label in 1969 and remained as the head designer until 1975. The years that Youssef headed the line are among some of my favorites and in particular his pieces that utilize quilting and patchwork are truly iconic. Rizkallah was born in Egypt and studied at the Ecole de dessin appliqué and the Ecole des arts decoratifs in Paris. His designs seem to combine that sense of couture lines that he gained in Paris with the color and vividness of his homeland.

This is a wonderful piece that can be worn as either a coat or a dress thanks to the zip front that completely opens. It has the added provenance of being the twin to the one featured in the ad campaign for 1970. The base of the coat is a black fabric that feels like a light wool that has a slight ribbed texture in it. The entire coat is detailed with a combination of a red braiding and red ric rac that follows the lines of the coat to emphasize the pattern and cut. Elaborate designs run over the body of the piece and all around the hem. Pops of a white cotton are used to  create even more drama. A floral patchwork is set into all of this on big curving and angular cuts. This anchor all the various parts of the design and give a pop of contrast to the the starkness of the red, black and white colour combination. The collar has a beautifully curved cut out to it and it flares out dramatically at the bottom. The sleeves are deliberately kept simple so that all you see is that spectacular design through the body of the coat. It is so dramatic and like wearing art. I love it. Excellent condition

Fully lined in a hand set red silk and closes down the front with an unpainted silver zipper. It appears to have been worn very little if at all. Tagged a vintage 8

Sleeves: 22"
Slightly dropped shoulders: 16.5"
Bust: 17" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Hips: open
Length: 44" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# C536

Reference Photo: "The Malcolm Starr All Starrs" Ad, 1970.

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 would have originally been a lingerie piece and meant to be worn under another dress. But in our modern world you could easily wear this out as a super sexy dress. What makes it possible for the dress to be worn outside of your house is the lining that they used. It is a lingerie weight opaque nude stretch jersey that sits under the top layer of black machine lace. There are built in cups that have under-wiring and the front laces up from the waist to the curving centre of the bodice. On each side of the top there is a panel of stretch netting that has a touch of transparency to it. The skirt falls in a simple pencil like shape with just a touch of volume created by the way it is set into the top part. It is super easy to wear and finding vintage lingerie that you could potentially wear as a dress is hard to do so it is a great find. Overall great condition with a couple of small notes below.  

Fully lined in nude stretch jersey and the cups have under wiring as described above. It closes with a side zipper. I see a couple of small repairs on the netting that runs on either side of the bust and a small repair in the lace at the front that you see more from the interior then the exterior. A small repair to the interior lining (not photoed). Please see the last three photos. There is a little give on the waist and bust measurements due to the lace front 

Bust: to 16" flat across from side seam to side seam
Waist: to 12" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 43" from top of shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# D627

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

This dress is far from perfect but it is an incredible vintage textile and is still wearable with care. This was probably made by Chinese artisans for the Western market and is an incredible example of the work being done during this period. I have seen a few of these older pieces but this one is especially special as it is all done by hand. It has the classic lines of a Cheongsam and is made out of a fine pink silk. It wraps and closes with frog knots and antique buttons down one side and up to the neck. The collar is high and the work on it is extraordinary. The pattern is a mix of hand applied sequins, that I believe are gelatin, and incredible embroidery work that has been all done by hand. The colours and designs are like wearing a piece of art. The set has lots of light overall damage. I see fading, missing sequins, fraying and shattering here and there, some marks... and yet it is still a thing of absolute beauty. Buy it knowing it is flawed but a true piece of history and beauty. 

Fully lined in a cotton muslin and closes at the side. The buttons are all present but some of the frog knots heat snapped. there is overall light damage throughout as described above and I had added quite a few photos so that it is fairly represented. Sold as found and has not been cleaned so that no further damage would be caused. 

Sleeves: approx 23" with no true seams "
Shoulders: no true seam
Bust: 17" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Length: 54" from neck to hem

Modern Sizing Equivalent: XXS-XS

Item# E691

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.

This garment is sold as found and has been thoroughly checked over before shipping

The Nina Ricci brand was founded in 1932, at 20 Rue de Capucines in Paris and quickly became one of the top couture ateliers in the world. In 1964, Gérard Pipart succeeded Jules-François Crahay, Nina Ricci's former designer assistant as head of the brand. Over the following three decades, Pipart's couture vision 'celebrated a flamboyant woman and his ready-to-wear found a loyal following among the most stylish women of the day.' This dress is from the Fall 1994 collection and I have included the runway reference photo here. In an interview with WWD in 1995, Pipart was asked about the state of couture upon his arrival to Nina Ricci and I love his reply; 'When I arrived everyone was predicting the death of couture, so I was keen to get in for what were meant to be the final few years. And despite what people like Pierre Bergé and many others predicted, couture has lasted a lot longer than anyone ever thought.' Pipart's designs for the Couture collections often combined high fantasy elements and this dress with its ultra long back is an amazing example of his work during this time period. 

The twin of this dress walked the runway of the Fall 1994 collection. It is absolutely beautiful and every detail has been done by hand. The dress has a sculpted feel to it that is softened by the pale pink silk colour. It gets a second dose of romance with the lace finish that covers the inner pink silk. The pale pink lace is hand made. There is a floral design that has been worked through the lace and the each cluster of flowers are outlined with a fine silver metallic cording. On the inside of each flower there is a second detailing that uses a metallic pink silk cording. The hours to do this would have been staggering. Every stitch is done by hand and the work is meticulous. The cut of the dress gives is a regal feel. The neckline is scooped and the bodice cut to skim over you with just a suggestion of the waist above the seam that sits at the top of the hips. Under that the skirt is structured into two curving panels at the front. These cross over each other and the edges are curved so that when you walk you see a glimpse of leg. Two big soft pleats sit just below either hip and these add volume and lift. At the back the skirt curves around you and you see a repeat of the two pleats for volume. The centre of the skirt at the back has been split and a pale pink silk inset added. This panel of silk is pleated so that it expands and opens into an extensive train. A decorative row of hand made silk buttons run up each sleeve and then a series of them run down the back. This would be an amazing choice for a bride who does not want a traditional wedding dress or as part of a wedding event. Presents as excellent condition with notes to review below about the interior and panel hem.

The dress is fully hand lined in hand set pink silk and closes with a back hand set zipper behind the buttons. There is a hooked inner waist stay. Hand set snaps close the train over the inner zipper.  Each cuff zips to close behind the decorative buttons. Finished to Haute Couture standards and entirely made by hand. The proper Haute Couture label is present. The pleats have softened and the dress shows grubbiness and marks under and along the back hem and train. There is discolouration under the arms of the inner lining and one teeny spot where this shows through along the edge of the seam. Please see the photos after the label shot. My client had the side seams let out slightly by Madame Paulette's in NYC. 

Sleeves: 24"
Shoulders: 15.25"
Bust: to 18.5" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: open
Bodice: 19.5" from top of bodice to dropped waist
Skirt: approx 26" from waist to shortest part where the front curves meet. It curves to 42" at the sides and drops to 49" at the longest part of the lace covered skirt at the back. The silk pleated train extends to 61" from the dropped waist

Modern Sizing Equivalent: SML-MED

Item# DD3080

Reference Photo: F/W 1994 Nina Ricci Haute Couture

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

Zandra Rhodes is one of my favorite designers and it is always a treat to have one of her pieces for you. The print on this one is done in a metallic silver paint and I love the subtle rhinestone detailing on it. It is a very pretty piece and the colour absolutely pops in person. 

This is a very wearable dress that can be worn for day or evening and has a lot of options on how you can choose to wear it. The versatility comes from it still having its original wrapped fabric belt and a matching scarf. This gives you the ability to add shape or wear it loose and easy. You can switch out the belt for the scarf for a softer look or you can use the scarf as a shawl or as a head wrap. You could even tie it into a turban to get a very seventies feel. The fabric is her signature hand painted silk chiffon and is the prettiest blue bright clear ever with a print that combines a navy matte navy and a metallic silver paint. This top layer lies over a blue silk interior that feels wonderful when on the body. The dress has a loose and easy cut through the body to create a floating feel around you. This gives the dress a lot of movement. It is cut to skim over the bodice and then flows to an open and easy waist and then the skirt flares out. Without the belt it has an almost caftan feel to it and with the belt you can cinch it in to add as much shape as you want. The bodice has just a touch of detailing to highlight the print with hand applied sequin paillettes and beads at the front and a rhinestone trim around the edges. The sleeves are left unlined and are light and airy feeling with a ruffled effect finished edges. It comes with a matching extra long sash and a fabric belt. It is lovely. Excellent condition

The dress is fully lined in a blue silk through the body and a nude inner lining in the sleeves. It closes with a back zipper. The bead and sequin work detailing are hand applied. Comes with a long wide scarf and and a matching belt that is shaped like a cummerbund with light stiffening in the middle part of it. This dress may have been a custom order as it came from the same lady who custom ordered several of Zandra's pieces. It looks to have been worn very little if at all. I see two missing beads at the front and some of the tiny black beads above the rhinestone at the neck are missing. Very minor

Inset shoulders: 12"
Bust: 17" flat across the back from side seam to side seam
Waist: 15" flat across the back from side seam to side seam
Hips: to 19" flat across the back from side seam to side seam
Length: 55" from shoulder to hem
Sash: 5.5" at widest point x 80" long end to end
Scarf: 25" at widest point x 106" long end to end

Modern Sizing Equivalent: SML-MED

Item# DD3651

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 twin of this dress in a red colour is held in the permanent archives of The Metropolitan Museum of Art and that red version was exhibited in the 'The Model as Muse: Embodying Fashion' Exhibit in 2009. The dress also has the added provenance of being the twin to the metallic version that Halston custom made for Bianca Jagger. I have included several photos of her for reference. Photos of her in the dress also appear in two of my Halston books and it is fabulous to have found this very versatile solid navy version. This is classic Halston from his main label couture line. It is one of the most instantly recognizable looks that he ever created because of the Bianca connection. It is an incredible example of his work from this time period. 

This is an amazing couture Halston dress and a very rare and special find. It is entirely cut on the bias and utilizes his signature minimal seaming. Halston defined how woman dressed in the 1970s and these jersey dresses that he did were tremendously flattering to the body. It is also insanely sexy while still being extremely comfortable to wear. The fabric is a beautiful deep navy silk jersey that moves and drapes beautifully. The dress is made to be one long tube with two extra, extra long ties that extend out from one end. At the front the fabric divides into two pieces to create the ties and this leaves a low V there. At the back the fabric dips in a graceful curve and the entire back is exposed to leave it bare. You can then wrap and tie those long ties in a variety of ways. I have shown a few ways to wear it on the dress form and I bet you could come up with more. Those ties make it incredible versatile and really it is like buying several dresses in one. They allow you to control how low the back dips and the the plunge at the front and this also allows you to control the overall length of the dress. You have the versatility to wear it with the ties wrapped around you for more shape through the waist or you can let the ties fall down the back so the the dress simply skims over the body instead of hugging your curves. It is spectacular. This is a rare example of Halston at his very best and it is easy to see why it would be favoured as a piece worthy of being in The Met. I would not be surprised to see the red version showcased in the upcoming Met Gala themed exhibit on American fashion. Excellent condition

Constructed from a single bias cut layer with the ties extending out from one end. The dress slips on to wear with no closures. It can be wrapped and tied several ways as shown. Hand finished. It is all bias cut which should allow for a larger range of sizing. I see a couple of tiny marks where the fabric has darkened a touch but nothing that would photo or that you see unless super looking. The fabric has stretch and I have put the comfortable range of measurements laying flat. You could probably get a little more if needed

Bust: the fabric is approx 16" flat across but there are no side seams so it will fit a large variety of bust sizes
Waist: 12.5-17"
Hips: 17-22" flat across from side seam to side seam
Length: approx 58-59" from shoulder to hem but you can adjust it up or down depending on how you choose to wear it 

Modern Sizing Equivalent: XS-LRG

Item# DD3651

Reference Photos: (1) c.1977 Halston Dress from The MET Collection Online.  /  (2-6) Bianca Jagger and Halston at The MET Costume Institute Dinner, December 12, 1977.  (5) From the book "Halston" by Phaidon. (6) From the book "Halston: An American Original" by Elaine Gross and Fred Rottman.

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 Hardy Amies label launched in 1946. In the beginning of his career, Amies' only did couture pieces and it was not until 1950 that he added a ready-to-wear label. The RTW label was still very high end and the pieces had a lot of the same hand finishes that the couture label had. In 1951 Amies was chosen to design some of the wardrobe for Princess Elizabeth’s tour of Canada. That led to Amies appointment as the Royal Dressmaker in 1955 after Elizabeth became the Queen. Hardy was known for his elegant lines and very high quality fabric choices. 

This dress is gorgeous in person and the photos do not convey the lightness of the fabric and how it will move once it is on an actual body. It is made out of a light weight silk organza that holds the colour on it exceptionally well. The fabric is very light but still has a structure to it that helps to hold the shape and lines of the dress. It is the perfect fabric choice to create volume without bulk or heaviness. The blue is lovely with a touch of a turquoise feel to it. Screened onto the silk is a print done in rusts and taupe. The dress itself is cut with simple lines. Tiny straps curve up and around each shoulder and the bodice is fitted under that. The waist nips in and then the skirt flows to the ground widening out from the hips so that it has quite a bit of volume to it. The skirt is made out of many yards of the silk with the top layer floating over an inner silk lining. All of the volume that you see is created by a combination of the way the skirt is set into the waist and the fabric choice. It is just lovely. Over the dress goes a little matching cape that simply ties into place at the neck and floats over the shoulders. It is cut to end just below the waist at the back and then curves around to come up just a touch at the front. The edge is finished with a six inch ruffle that perfectly picks up the skirt's shape and volume. It is just beautiful. Excellent condition with a small note to review below

The dress is fully lined in a blue silk and closes with a back painted metal zipper. There is a light spot near the front seam of the skirt that gets lost in the pattern. Please see the photo after the label shot. The cape ties at the neck and is unlined.

Bust: 17.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: " flat across from side seam to side seam
Bodice: 15" from top of bodice to waist
Skirt: 45" from waist to hem
Cape: 18" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD1586

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

Valentino knows how to cut a dress to perfectly flatter a woman's body. Few designers can come close to the techniques he perfected over the decades of his prolific career. This is a wonderful example of his work from the turn of the 1990s. I love that it has been done in his classic crisp true Valentino red. This is a colour that he perfected to be flattering on almost any skin tone. The dress has that perfect minimalist feel to it that the nineties epitomized and yet still feels modern and fresh. It is cut to skim over your curves in a way that highlights the body but is not meant to be too tight and constricting. The colour is absolutely fantastic. It is that perfect clear red that flatters most skin tones. I think it is even better in person then how it has photoed. If you know Valentino's work, then you know the exact shade this red is in person as this is one of his primary signatures. The dress is sleeveless and the side angle in towards the neckline. The top of the neck curves up over the base of the neck and below that is an open slit that runs down the front seam. It slowest just the barest bit of skin. All of the seam work on the body of the dress has been done vertically so there is no seams running across you at any point to break the line of the eye. When it reached the hem it flares out and the hem is finished with two layers of ruffles that circle around to the back. The back hem is cut slightly longer then the front so that you get a slight bit of a trained effect. When you walk the ruffles get kicked out and adds movement with your every step. It is just stunning on the body. Excellent condition with one small note below.

Fully lined in a red silk satin. It closes with a back hidden set zipper. Hand finishes. Tagged a Valentino 10. The fabric does have some give. There are some very minor marks on the back ruffled hem that you would never notice once on that would not photo. Mentioned for accuracy. The original price tag is still on the dress and was $3275 even back then.

Bust: 18-19.5" flat across from side seam to side seam
Waist: 16-17" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 57" from shoulder to front hem, 63" to longest point of the back hem

Modern Sizing Equivalent: MED-LRG

Item# DD3015

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 caftan is so striking and unusual. It has the feel of a mish mash of cultures and is one of those pieces that you will only find in vintage. It is made out of a red chiffon that has a small dot fused and embroidered into the fabric. Around the neck is a bib design made out of flat plastic beads that are hand sewn into place. The collar is high cut and set wide across the neck line. The beads follow the shape this creates and the white on the red pops. More white beads are scattered over the front of the caftan. Surrounding each bead is a detailing of little silver beads. These circle the white beads down the front and  create a complex pattern around the ones on the bibbed neckline. A large band of them run around each cuff. The body of the caftan is cut straight and loose, widening out gently as it nears the hem. The sleeves have a kimono drop before being brought in at the wrists. Each of the dropped panels is edged with faux pearls. Presents as excellent condition with minor notes below. 

Fully lined in a red silk through the body and the sleeves are unlined. It slips over the head to wear and each cuff hooks to close. The colour is a deeper red in person. I see a couple missing white beads at the back of the neck, minor wear to some of the plastic beads coating and a small spot on the back of one shoulder. There is a tear in the lining only that you see a bit through the top layer. The occasion missing bead or pearl. Please see the last four photos. The open cut should allow it to fit a range of sizes. 

Sleeves:25.5 "
Shoulders: 16"
Bust: to 21" flat across from side seam to side seam
Waist: to 21" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Length: 57" from neck to hem
Sleeve drop: 31" from top of sleeve to longest point on the drop

Modern Sizing Equivalent: SML-LRG

Item# E690

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 1951, 27 year old James Galanos launched his first label called Galanos Originals. By 1954 he had won a Coty award and the Neiman Marcus award. By 1958 he was producing clothing that could range in price from $200 to $3000, an astronomical price for ready-to-wear for that time period. That said, his ready-to-wear was made to almost true couture standards and were made with a level of craftsmanship that was on par with the French couturiers. Galanos was a master cutter and draper and he used many couture techniques in the construction of his dresses and gowns. Grace Kelly was an early fan. His work is held in all of the major museums around the world and he is one of my personal favourite designers. 

This particular dress has the added provenance that its twin was worn by Nancy Reagan on two separate occasions. The first time was at a party in London where she was photoed with Douglas Fairbanks Jr and Princess Grace of Monaco. She then wore it again to the premiere of Annie in 1982. It was obviously a favourite and for good reason. The dress is absolutely gorgeous. It has a long slim cut with just a suggestion of shape through the waist. As it nears the hem it widens out just a touch and there is a high slit on the side that the shoulder is bare on. This allows you to walk and also lets a flash of leg show when you move or sit. It is lined with a very fine, high end red silk that feels like heaven over your skin. The top is angled up and over the shoulder. It is cut wide at the top of the shoulder and this curves over you and then dips down to follow the same angle at the back. The edge of the neckline and the arm are both finished in a small ruffle of the same silk faille that the rest of the dress is made out of. For detail he has added a gorgeous design that follows the angle of the angled front and back. The design is done to suggest leaves and grapes perhaps. It was created by utilizing a trapunto quilting effect where two layers of fabric are used, the underside of which is slit and padded, to produce a raised pouf effect on the top layer. It is a tedious method that would have added several hours to the dress to do this by hand. The dress is stunning on and the reference photos of Nancy included here give you an idea of how much it transforms once on an actual body. Excellent condition 

Fully lined in a red silk and closes with a zipper at the side. Ribbon edge inter seams. It appears to have been worn very little if at all. The colour in person is a little darker then how it photoed. In person it is between the colour of the shots here and the pics of Nancy in the reference photos 

Bust: 17.5" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 56.5" from top of shoulder to hem with approx 2" turned under
Slit: 26.5 from hem up

Modern Sizing Equivalent: SML-MED

Item# DD3649

Reference Photos: (1) Nancy Reagan with Douglas Fairbanks Jr and Princess Grace of Monaco at a party in London, 1981.  /  (2-4) Nancy Reagan at the premiere of 'Annie' at Radio City Music Hall in 1982.

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 gorgeous dress is by Alfred Bosand who was really one of the great American designers whose clothes where made to couture levels with lots of hand finishes and detailing to them. Bosand started his career after World War II by attending the Fashion Academy, New York City. He then worked with several designers before launching his own label. By the time he returned in 1986 he was one of New York's last privately owned couture designers with his own label. His work is of very high quality. The dress is unlabeled but I have had a few dresses in the shop now that share this same fabric and cut. 

Bosand dresses always have a sense of romance to them and this dress with its matching caplet is no exception. Both pieces are constructed from a lightweight silk net that has little dots woven through it. The top netted layer sits over an inner silk layer that is a pale mint green with just a touch of a grey tone to it. The overall effect is not quite grey, not quite ivory and not quite green. The photos come close but in person it is more towards an off-white in feel. The entire top of the bodice is covered in a iridescent sequins that are all hand applied. They are set so that they are more densely applied towards the empire seam and then scatter up to the neckline. The dress is suspended from two tiny straps that curve over the shoulder. The bodice is kept simple with a low scooped at both the back and the front and a high seam under the bust. From the empire waist the skirt cascades to the floor and widens out quite a bit as it nears the hem. There are yards and yards of fabric in the skirt and it is made up of three layers, the top net layer that then floats over an inner silk chiffon layer. Under those two layers is an ivory silk satin lining. The dress comes with its original matching caped scarf piece. This has a built in collar that hooks to close and has the same sequin application over it. It is cut to end just at the empire waist seam at the front and then hangs with long panels that trail over each arm and around the back all the way to the floor. It is incredible and when you move it catches the air and moves beautifully. Excellent condition. 

The skirt is fully lined in an ivory silk satin with an additional layer of a pale green silk chiffon between the skirt layers. The bodice is lined in a silver grey silk. The cape is unlined. The dress closes with a back painted metal zipper and the cape closes with two hook & eye at the collar. Hand finished throughout. There is the teeniest bit of grubbiness feel to the straps.

Bust: 18" flat across from side seam to side seam
Empire waist at seam: to 16" flat across from side seam to side seam
Inner hips: to 21" flat across from side seam to side seam
Bodice: 12.5" from top of shoulder straps to seam under the bust
Skirt: 46" from seam under the bust to hem
Cape: neck is 13.75" around and you could move the snaps to get it to 14". It falls 12" at its shortest length at the front and 59"to the longest length

Modern Sizing Equivalent: SMl-MED

Item# DD3646

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

Howard Greer started his career working for the famed Lucile. He then served int he war and upon his return in 1921 got a job in Hollywood. By 1925 he was the head of the wardrobe department of the studio that we now know of as Paramount. In 1927 he opened a couture salon patterned after Lucile and his time there. He was the first costume designer to open his own couture house. His pieces took weeks to complete and required numerous fittings. They were also exorbitantly priced. In 1946 he began a ready-to-wear line that incorporated hand finishes making them alongside the couture pieces. He shuttered the label in 1962. This is an earlier example of his couture work and it is exceptionally beautiful. 

It is rare to see a dress from this period as pretty and romantic as this one. It has that Old Hollywood glamour feel and it is easy to imagine that it could have been made for a Hollywood starlet. The bodice has shaped cups and wide straps that curve up and around the neck from the outside edges of the bust line. The top is curved in a sweetheart shape and then it skims over the body, past the waist and ends just at the top of the hips. The upper back is left bare. I also photoed it laying flat so that you can see the cut when it closes completely since it would not close on my dress form. The bodice has been entirely covered with hand done bead work. Silver glass tube beads cover every inch and have been densely spaced into curving rows. They catch the light wonderfully when you move. The skirt is divine. It is made up of three full tiers of silk tulle that has been stacked on top of each other with definitive edges. At first glance you would think that the effect the tiers have were achieved by using multiple layers of tulle over each other for each tier, but they are actually one single layer of tulle each. The netting that he used is so soft and so fine that he just has gathered it so that it has the volume that you see on each tier. This is a testament to the quality of the fabric found in this time period because I can honestly say that I have not encountered a finer, softer silk tulle. The edges of each tier have been left raw and this gives the dress a slightly deconstructed feel that adds to its beauty. It has this decadent feel to it that only a piece that is of this age and this well made has. This could also be a spectacular wedding piece for the bride looking to wear vintage. It is absolutely stunning in person. Excellent antique condition with some small notes below.

The skirt is fully lined with a cream silk and the bodice is unlined. Light interior boning on the bodice. You can see all the hand work on the back of the bodice. It may have been lined at some point. It closes with a back painted metal zipper and the halter slips over the head. It was folded and sewn to shorten the strap lengths at some point in its history. I see one tiny area of missing beads on the bodice and some loose beads here and there. Please see the photo after the label shot. The bead work is entirely done by hand. Hand work throughout. It's wearable as is but if you want to wear it for an event where you have it on for hours you might want to get to lined for extra re-inforcement. Note that is was photoed on a size 2-4 dress form and it would not close. Best suited for a 0-2

Bust: 15.5" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Seam at the hips: 16" flat across from side seam to side seam at the bottom of the bead work bodice
Bodice: 23" from top of neck to seam at the bottom
Skirt: 39" from the seam at the bottom of the bodice to hem

Modern Sizing Equivalent: XXS-XS

Item# E590

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.

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

This is a gorgeous dress. It is from the 2011 Resort collection and was Look 29 of the presentation. In 2011 Valentino was headed by both Maria Grazia Chiuri and Pier Paolo Piccioli. They had stepped into Mr Valentino's shoes and were breathing new life into the brand. Vogue's Nicole Phelps said of the show; 'Maria Grazia Chiuri and Pier Paolo Piccioli have won the hearts of the Hollywood and social sets. For proof, one only need look at the red carpet—Sarah Jessica Parker and Dree Hemingway wore Valentino couture to the New York premiere of Sex and the City 2 and the Cannes amfAR gala, respectively.....Taking cues from both the late sixties (when Valentino Garavani was one of the first couturiers to use logos on ready-to-wear) and the current runways...for the eveningwear, in which cheery garden party florals slowly fade to black on the hems of sleeveless dresses and strapless gowns. Well, most of the eveningwear. There were a few perfectly pretty flower-strewn frocks for occasions when edge is out of the question.' This is one of those flower strewn dresses and it was an instant success selling out worldwide. It has the added provenance of Michelle Williams choosing its twin for the Golden Globes Red Carpet. 

This is the kind dress that you see in real life and it makes you swoon. As good as it looks on the red carpet you can also imagine it working as a wedding dress or part of a wedding event for a bride looking for something not quite as traditional. It is made out of a silk organza that is a light nude cafe au lait colour. This is layered over multiple layers of silk. There is an inner silk lining topped by two layers of chiffon and then a layer of solid silk organza between those and the very top layer. The detail and care put into it is just incredible. The very top layer of silk has been printed with that gorgeous daisy print that you see. It has been printed onto the fabric so that it appears to have been hand painted. These bright pops of white are fantastic against the nude silk and give the dress its fresh and romantic feel. At the front the dress is cut to be fairly sleek in feel with a v cut neckline and high waist seam. It flows to the floor in a long column and you get just a suggestion of the ruffles that you will see when you turn around. The back skirt is cut to be far more full then the front. It is finished with a double layered of ruffles that start at the base of the low back and then curve out on each side all the way to the hem. The effect this creates is wonderful. The back is cut to be longer then the front so you get just the hint of a trained effect. The back is cut right down to the waist to leave a bare expanse of skin showing. The straps are the perfect finish. They curve up and around the shoulder and then angle gracefully in towards the centre of the low back. Each is finished with a combination of 3D embroidered and white leather flower embellishments. It is so pretty and even better in person. It appears to have never been worn or worn very little. Excellent condition 

Fully lined in silk and constructed as described above. It closes with an off-set back zipper that is hidden along a side seam. No size tag present. It appears to have been worn very little if at all. It retailed for $7900 in 2011

Bust: approx 18 " flat across from side seam to side seam
Seam under bust: 15" flat across from side seam to side seam
Inner hips: to 19" flat across from side seam to side seam
Bodice: 14" from top of shoulders to seam under bust
Skirt: 48" from seam under bust to front, 50" to back hem

Modern Sizing Equivalent: SML-MED

Item# DD3648

Reference Photos: (1) Resort 2011 Valentino Collection Presentation, Look 29. Model: Tati Cotliar.  /  (2-4) Michelle Williams in Valentino at the 2011 Golden Globes.  /  (5) Resort 2011 Valentino Dress. Photo: netaporter.

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