This collection marked the first prêt-à-porter collection after John Galliano's departure. After being heavily criticized for the couture collection that proceeded this, Bill Gaytten "headed back to ground zero, the archives where the Dior legacy rests untroubled by the wayward to-and-fro-ing of topical vagaries" according to Vogue magazine. A longer version of this dress walk the runway for look 45 of the show. It was meant to have the feel of the famous Grace Kelly dress but with a wrapped more intricate bodice to give it a modern touch. I think it was perhaps the best piece of the show and it's an interesting piece of Dior history as well. It is very beautiful

The version that walked the show was to the ground. Distressed depending on your height will fall between mid calf and ankle. It makes the dress that much more wearable and versatile. The dress is made out of a fine ivory coloured silk chiffon that has a touch of beige to it. The bodice is stunning. The silk chiffon already has a texture that runs through it and then the bodice plays on this by wrapping and twisting the silk to give it even more texture. It dips into a V at the front with an added panel that comes up and over the shoulder to close the low plunge. On the opposite shoulder there's a cut out that extends into a separate panel all the way down the back. The back is left open for an expensive skin to show and those little glimpses of skin between the cut outs and panels is exquisite. It has a touch of sexiness to it but in a very refined elegant way. The waist wraps for shape and is detailed by a black 'ribbon' that is completely covered with a black glass tube beads. This adds a stark contrast to the dress and brings in the waist as well as being very pretty. The skirt falls from under that and is extremely full. There is a tremendous amount of fabric in the skirt. When you stand still you get an idea that it flares out but if you twirl it would give you the feel of a full circle skirt. The lightness of the fabric allows it to move with your slightest movement. You can see that in the runway video and the movement this dress has. I love it. This would make an amazing wedding dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. And of course it could also be worn to any event. Excellent condition with one minor note below.

Fully lined in a ivory silk chiffon and closes at the side with a series of chiffon covered buttons and loops. It appears to have been worn very little if at all. I see one tiny pull in the fabric on the back shoulder. Please see the photo after the label shot. Tagged a FR36 GB8 IT40 US4

Bust: approx 16" flat across from side seam to side seam with one side having so true side seam
Waist: 12-12.5" flat across from side seam to side seam
Inner hips: to 20.5" flat across from side seam to side seam
Bodice: 12" from top of shoulder to top of waist band, waist band approx 6"
Skirt: approx 36" from bottom of waist band to hem
Total length: 54" from top of shoulder to hem

Modern Sizing Equivalent:  XS-SML

Item# DD4252

Reference Photo/Video: Spring 2012 Christian Dior Runway, Look 45.

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 an absolutely beautiful wedding dress by Alber Elbaz for Lanvin from his 2013 collection. He did several variations of this dress and I've included a few of them because I think that it gives you an idea of how the dress will look like on the body. It is stunning and doesn't feel like your typical wedding gown. As good as it looks on my dress form it is even better on an actual body that give it shape. It is a really beautiful dress.

The dress is gorgeous and I love creamy ivory colour of it. The dress is made from a fine silk detailed with ivory coloured silk ribbon. The bodice is strapless dress skins over the body from there to the hem. At the back it is gathered up in that elaborate ruffle detailing. This gathering brings the dress in slightly under the hips and gives it a pretty interesting shape as it falls around you. The ruffles are tremendously beautiful. They are set down the back where they trail down past the hips. They are elaborate and caught up with stitching to hold them in place. The top of the bodice is detailed with a silk grosgrain ribbon that wraps around the upper edge. This goes all the way around you and you tie it into a bow at the center of the back as the perfect topper to top the cascade of ruffles. To create the shape over the body is made from horizontal panels that are set on top of each other from the top of the bodice is all the way to the hem. Each panel is top stitched at its bottom edge and overlaps the one under it. The edges are finished with his signature slightly raw feeling edge on these and the ruffles. The fabric has a slight texture running over it and is just thick enough to hold the shape that you see. It is so pretty. Excellent condition with one small note to review below

The top has a lightly boned corset to help hold the dress in place and shape you. There is an attached  waist stay to also help. The inner bodice is lined in an ivory silk and the skirt is unlined. It closes with the signature exposed Lanvin zipper between the ruffles at the back. There is an attached ribbon that extends out from the neckline of the bodice that you tie into place at the back. It appears to be unworn but there is some very minor grubbiness here and there and a small area of spots that I have photoed. All minor. Please see the photo after the label shot. The color is slightly richer and creamier  in person. If you needed more or less room in the waist it would be easy to expand or take in the inner corset. Tagged a modern 40

Bust: to 16" flat across from side seam to side seam
Inner waist stay: 14.5" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 60" from strapless bodice to hem

Modern Sizing Equivalent: XS-SML

Item# DD4251

Reference Photos: (1) 2013 Lanvin Blanche Collection.  /  (2-5) Lanvin Wedding Dresses, credits unknown.

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

This particular design from the Halston IV line is one of my favorites besides the one shoulder dresses I find for you. The design is so simple but at the same time it has so much impact with its bare and sexy feel created by the plunging front and sides. It is an incredible piece that you can wear over and over and style it in a zillion ways depending on what you pair with it. I have included some reference photos from the main Halston line that shows where the design for this dress originated. I have also included photos of Martha Hunt and Emmy Rossum who both have worn the twin of this dress from my archives. I love having these photos because it lets you see just how fabulous this dress is on.

This is a dress that is insanely sexy and bare feeling yet the ivory colour of it keeps it feeling fresh with a touch of innocence to it. It somehow manages to walk that line in that very Halston kind of way. The dress is made of a wash and wear cream coloured jersey. It has amazing drape and it feels easy-to-wear once on the body. The bodice has a halter style front that plunges right to the waist. It has an opening that you slip your head through and then a panel of the same fabric drapes over the back. Long ties extend out from each side of the panel and you use these to wrap it into place and tie it at the front. At the back this leaves a gap between the bottom of the panel and the waist for a little flash of skin. The sides are also left open and bare to the waist. Despite its bareness it is cleverly cut so that when you have it on it stays in place. The ties snatch in the waist as much as you want and the skirt falls from there. There is a lot of fabric in the skirt and this gives a tremendous movement when you move. The dress has the added bonus of traveling very well. It is the kind of piece that you can throw into your suitcase and slip on with either flats or heels when you reach your destination and be instantly ready to go. This would make an amazing wedding dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. And of course it could also be worn to any event. Excellent condition with a minor note below

Unlined and slips on to wear. There is elastic through the waist and it ties into place as described above. This makes it very easy to fit and it should fit a range of sizes. If you don't like how it dips in the back and leaves that space you could easily tighten the elastic more or tie it in a way so it doesn't do that. I see perhaps the faintest a bit of darkening here and there in the skirt. This is only seen when it's laid out flat. There's so much fabric that I really just mentioning to be very picky. The easy cut and elastic waist should allow it to fit a range of sizes

Bust: no true side seems but each triangle covers up to13.5" flat across
Waist: 17-21" flat across from side seam to side seam and you use the tie to belt to cinch it in
Hips: open
Bodice: 15.5" from neck to waist
Skirt: 44" from waist to hem and the back extends down couple inches lower

Modern Sizing Equivalent: SML-LRG

Item# DD4250

Reference Photos: (1) Emmy Rossum in Halston for Harper's Bazaar US.  /  (2) Martha Hunt in Halston.  /  (3) Spring 1973 Halston Runway.  /  (4-6) Spring 1977 Halston Runway.

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

Bill Gibb was one of the most influential designers in 1970s Britain and his clothes were worn by the rich, the famous and the beautiful. Much of his work verged on couture and he was unrelenting in striving for perfection. His work has a high fantasy element to it. Every piece I bring into the shop is very special and the range he had was incredible. I recently had a deep brown version of this dress in the shop only a couple of weeks ago and I'm very pleased to have another one so soon. This dress is also a little extra special because its twin in ivory was part of the 'Great Names in Fashion' exhibit at the Fashion Museum Bath.

The body of the dress is made of a fluid black jersey fabric that is light in weight and drapes amazingly on the body. It cascades and flows to the floor from the densely beaded panel that sits across the upper bust. A second matching panel is also set at the back. Both panels have been completely hand covered with a design that is made out of hundreds of ivory and gold glass tube beads. Along the one side of the front panel there is a row of hand carved mother or pearl buttons that runs from the top of the shoulder to just past the waist. The buttons are functional and hold a decorative overlay in place that tops the inner dress. This overlay loops under the opposite arm and wraps around you to the back where it attaches to the panel there. The overly adds this incredible draped Grecian feel to the dress and it also gives it added movement when you move. The dress underneath is a long sheath that falls from the shoulders and widens out slightly as it nears the hem. The sleeves are long and each one ends with more of the MOP buttons. The entire dress is detailed with these strips of tiny little raised beads on a silver strip. These follow all of the edges of the dress and he even use them for all of the long interior seams of the inner dress even though you don't easily see them. I just love that he did that and it just shows you the attention that was paid to dresses during this time period as opposed to modern pieces where they probably wouldn't have bothered to put extra detailing where no one would ever see it. The strips add a touch of weight and help the dress to fall perfectly around you and they also catch the light for added glamour. During this time period these jerseys would have been cutting edge fabrics and an unusual choice for a designer to use and considered very avant garde. It is stunning and a beautiful example of Bill Gibb's work and its never a bad thing when it is a proven museum worthy piece. Excellent condition with a tiny note below

The dress is unlined and slips over the head top wear. The attached panel buttons into place over the interior dress. Each cuff has loop and buttons to close. It appears have been worn very little if at all. The loose and easy cut should allow it to fit a range of sizes. I have given the comfortable range of measurements while laying flat. On a smaller frame it will just drape more. The striped applique at the top of one shoulder has a couple of beads missing on one part. Please see the photo after the label shot

Sleeves: 21.5"
Slightly dropped shoulders: 15"
Bust: 15-18.5" flat across from side seam to side seam
Waist: 14-19" flat across from side seam to side seam
Hips: 16-22" flat across from side seam to side seam
Length: 58" from top of shoulder to hem

Modern Sizing Equivalent: XS-MED

Item# DD4232

Reference Photos: Bill Gibb Dress on display at the "Great Names of Fashion Display" Exhibit at Fashion Museum Bath.

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 woman as dandy." declared Tom Ford. That was his comment to Vogue's Sarah Mower. Her review talked about 'the sinuous twenties and thirties feel he (Ford) melded into satins and chiffons for YSL's Spring collection....Together with the major frizzed hairdos and sexy high-heeled spectator shoes in leather and canvas, it added up to a new silhouette for the tall, sexually-in-control woman Ford envisions as the spirit of modern YSL.' This dress was not one that walked the runway but was a sell out when it was released. This was helped in part by the appearance of Renee Zellweger who wore its twin on the cover of Elle Magazine that season. It has a gorgeous decadent feel and sense of sensuality once on the body.

The dress is made from a feather light silk chiffon that has the iconic YSL lip print scattered over it surface. This was a print originally conceived of by Yves and Tom Ford went back into the archives and resurrected it for part of this collection. I have photoed the dress with the V placed at both the front and the back for these shots. On the Elle cover photo Renee is wearing the opening at the front I believe and it looks like she is just holding it closed. I’ve seen the twin of this dress photoed on mannequins elsewhere in the past with the front tacked into place to be able to wear it. And you could definitely do that. That said it would only make sense to tack it into place while it’s on you so that you find that perfect spot that works on you. I do think it was originally meant for the back to be open and bare like how I have photoed it for most of the shots here and it is very pretty worn that way. A ruffle starts at the shoulders and goes around the edges of the dip at the back. The skirt wraps around you and the sleeves go to just passed the elbow. The ruffle at the end of each sleeve is attached with stitches that are set apart from each other to leave a gap between. To wear the dress you just slip your arms into it and then the dress wraps and ties into place, one tie at the inner waist and one on the other side on the exterior. This lets you adjust how loosely it sits on the body. Tom meant for it to feel like the dress will just fall off you at any moment. He was known for this overt sexuality in his pieces. You could easily layer this over something else underneath to make it feel less risque and then it makes wearing it either way around even more a possibility. It appears to have been worn very little if at all. Excellent condition

The bodice of the dress is two layers of the silk chiffon and the sleeves are unlined. The skirt is lined in an ivory silk chiffon. It ties into please at the waist so you can adjust how it sits. Brand tag is missing but the labeled contents tag is present. YSL logo imprinted as part of the pattern on the silk. Tagged a F36. The easy wrap style should allow it to work on a range of sizing.

Sleeves: 22"
Shoulders: no true defined seams
Bust: 16-18" flat across from side seam to side seam
Waist: approx 15-16" flat across from side seam to side seam and you can adjust up or down by a few inches either way
Hips: approx 20" flat across from side seam to side seam
Bodice: 15" from top of shoulder to waist
Skirt: 22" from waist to hem

Modern Sizing Equivalent: XS-MED

Item# DD4245

Reference Photo: Renee Zellweger in Yves Saint Laurent for Elle Magazine, November 2004.

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 an extraordinarily rare example of the work that Ossie Clark and Celia Birtwell were doing together in the very early 1970s. What makes this dress unusual is that it features one of Celia's prints but the print has been embroidered onto the dress rather than screened like they normally are. There is a even more elaborate version of the dress in the Ossie Clark book that I have shared here for dating reference. I have seen long versions with the embroidery on them come up for sale but those only have a small amount of detail on the bodice usually. This is the only one I've seen with this amount of extensive embroidery on it. It is utterly fantastic.

Ossie somehow manages to take a rather conservative feeling piece of clothing and work in the flow and drape that he was known for. His pieces always have a touch of sexuality to them that became one of his trademarks. Even with a dress like this where you are fully covered something magical happens once this lands on an actual body. The dress made out of a classic black moss crepe. The neckline is in a shallow V and there are button and loops that run across the top of each shoulder for added detailing. It is cut to skim over the bust to the waist. We see the influence of the 1930s in this dress with the curved vertical seams that run down the center of the bust and the gathered angled seam around the waist. The waist has attached ties on both sides. These wrap around and tie to cinch in the waist and add more shape. The skirt flows and flares out from there. It skims over the hips and then begins to flare out. There is a lot of movement in the lower skirt created by an added panel at the bottom of the skirt. I love the curved seam that attaches this lower panel to the dress. This gives it tons of movement when you move. The sleeves are have a touch of a cap at their tops and narrow down to a button at the wrist. That spectacular moon and stars print by Celia Birtwell covers the entire dress. To emphasize the shape and different parts of the dress the embroidery has been applied in different weights. Denser in some and more scattered inothers. This label is from the couture Ossie Clark line and it specifically what's the print is by Celia Birtwell. The midi length makes it extra versatile and it is a dress that will easily go from day to night. This is an exceptionally rare example of the pairs work. Excellent condition

Unlined and closes with a back set zipper. Attached ties at the waist. Each cuff has one fabric covered buttons at the wrist. Tagged an vintage UK 10.

Sleeves: 24"
Shoulders: no true define seam
Bust: 16" flat across from side seam to side seam
Waist: to 13" flat across from side seam to side seam
Hips: to 17.5" flat across from side seam to side seam
Length: 44" from top of shoulder to hem

Modern Sizing Equivalent: XXS-XS

Item# DD4244

Reference Photo: "The sun and moon dress that Ossie made for Nicky Samuel, satin-backed silk crepe with embroidery applique, c.1971" from the book Ossie Clark 1965|74 by Judith Watt.

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 11 shown on the runway for the Fall 2019 Prada collection. The cotton mix fabric allows it to hold a fuller shape and that is how I shot it rather then the sleeker look it was worn with on the runway. The review for the Prada show was glowing. It stated in part that 'we had a Prada collection that continued to posit romance in all its aesthetic gestures (lace, flowers, hearts, fairy-tale capes, and glittery red shoes) as a way to both soften and deepen the tropes of utilitarianism...And Prada-philes will love this collection because it was, at its core, very, very Prada...Not because the dresses nodded to a demented Kim Novak or an inscrutable Eva Marie Saint...It was very Prada because it spoke so clearly to the twin impulses that both define and daunt the Prada woman: I know what really matters and I also really love fashion. Such a beautiful, bad romance."
I love that to describe the product aesthetic. It holds so very true. This was one of the prettiest dresses from the entire collection.

The dress is made out of a fabric that feels like a cotton mix and has a crispness to it that I love. This gives it a slight a bit of stiffness to it and it is this slight structure that allows it to hold the shape and fullness that Miuccia was after in these looks. The sleeves are set to come out from the waist and then narrow down as they reach their ends. The shoulders are rounded as a result and there is no line to break the arm from the bodice. This gives the dress a very 1950s feel. The neckline is a shallow scoop and the dress skims over the bodice.  The waist is nipped in. I love the fullness of the skirt. The fabric lets it have that lovely fullness and you could exaggerate it even more if you added a crinoline underneath. At the waist is that elaborate 3-D cascade of white flowers and trailing leaves. This is attached to one side of the waist and falls down over the skirt. It creates a beautiful flower on flower look since the fabric itself has a huge oversized washed floral pattern covering the entire surface of the dress. It is gorgeous. And it has pockets. It looks to have been worn very little if at all. Excellent condition 

Unlined with ribbon finished edges and closes with a back set zipper. No size tag present. Pockets along the hip and the flower detail at the front is attached. It appears to have been worn very little if at all. 

Shoulders: no defined seam
Bust: 17" flat across from side seam to side seam where the arms come out from just above the waist
Waist: 12-12.5" flat across from side seam to side seam
Hips: open
Bodice: 16" from top of bodice to waist
Skirt: 30.5" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD4242

Reference Photo/Video: Fall 2019 Prada Runway, Look 11.

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 absolutely love the cut of this dress. It is made out of a beautiful pink silk taffeta that has a slight iridescent quality to it. The choice of this silk gives it just enough structure to hold the shape but allows it to feel almost weightless once on. That fabric choice mixed with the soft billowing cut that it has gives it feeling of high drama. The bodice is cut to skim over the torso and the neckline is cut so that it is scooped at the front and the back. The sleeves are unlined and are cut to be extremely full and wide so that they billow out to just past the elbow and above the elastic at each cuff. The dress can be worn off the shoulder as I have shot it for a bare expanse of skin to show across the top or fully on the shoulders. The shoulders on the bodice are edged with a little matching silk ruffles along their tops for a pretty detail. The front is set with an elaborate design made of little glass tube beads that are set in a 3D pattern that comes off of the silk. These are then mixed with clear iridescent and facetted beading. The beading follows the neckline and then comes down into a point towards the waist. It is repeated at the back where it is even more densely applied. The beads catch the light wonderfully and add a little bit of sparkle to the dress. The skirt is very long and full. It flows to the floor in a cascade of silk. I have shown it without any underskirts but you could easily add a crinoline if you wanted even more fullness. A long matching silk sash cinches in the waist. The dress has a fantastic romantic, pretty and light feel, but is still sexy and beautiful. Excellent condition.

The bodice is lined in a matching silk, the sleeves in a silk organza and the skirt is lined in a pink cotton feeling fabric. It closes with a back painted metal zipper. Each cuff has elastic. Has its original matching sash belt. Hand finishes.

Sleeves: 18"
Bust: 17.5" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips at inner lining: open
Bodice: 18" from shoulder to waist
Slightly dropped skirt: 42" from waist to hem
Sash: 11" x 90"

Modern Sizing Equivalent: SML-MED

Item# DD4237

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

Anthony Vaccarello is currently the Artistic Director of Yves Saint Laurent and his rise to fame was meteoric. He started at Fendi under Karl Lagerfeld where he stayed for two years and then in 2009 he moved to Paris and launched his own self-named line with five looks. In 2011 his label won the ANDAM prize. One year later his muse, model Anja Rubik, wore a look to the 2012 Met gala and he rose to international fame as she went viral worldwide in it. By 2014 his collections sold out the second they dropped and were wait listed worldwide.'Girls are their most beautiful during their holidays,' Anthony Vaccarello explained backstage. 'I wanted to try to bring swim to the city.' His clever cuts for this show felt fresh and new and they were very sexy. Dresses like this one were cut micro mini short and were as bare as you could get. The twin of this one walked the runway for Look 14 on Cindy Bruna and its spectacular. This one is new with tags and has never been worn.

The dress is strapless with a built-in inner added corset for support. The dress is shaped through a series of vertical panels piece together with long seams running from the top of the strapless bust to the bottom of the mini skirt. The half seam at the front waist drops down on an angle to create length through the body and add tot eh sarong illusion that the skirt has. One side of the skirt is cut exceptionally short and then the other side drops down at the front to create the illusion of a wrapped around you piece. This is what gives the dress a sarong feel and brings in that swimsuit/vacation feel that he mentioned as being part of his influence. Fused onto the front of the skirt are huge cabochon feeling gold domed metal buttons. These buttons were applied to many of the pieces throughout the collection and gave everything a slight play on military dressing. The dress is short, fitted and meant to show off all your curves. It is sexy AF. Excellent condition

Fully lined in a black rayon and has an inner additional lightly phone bodice to help shape. It closes with a hidden set back zipper. The colour is a black that in some light has a blue feel to it. All the original tags are attached and has never been worn. Tagged a modern 38

Bust: to 17" flat across from side seam to side seam
Waist: to 13.5" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 24" to hem and 30" to the longest point at the front

Modern Sizing Equivalent: SML-MED

Item# DD4233

Reference Photos/Video: Spring 2014 Anthony Vaccarello, Look 14. Model: Cindy Bruna.

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

Vogue praised the intricate and meticulous details put into the pieces of this collection. The collection was inspired by a mix of Marie Antoinette, Tim Burton films, Sleepy Hollow in particular, and he even had Burton design the lighting for the show. There was a bit of schoolgirl fetish in the mix and the Supercalifragilistic-Expialidocious title of the show was of course taken from Mary Poppins. I have included a snapshot from one of the Mcqueen books that talks more of the various inspirations that were behind this spectacular collection. On the clothes themselves Vogue noted the 'Milkmaid necklines—far from innocent-were pushed up by leather bodices that curved down into the tightest pencil skirts, and finished off with thigh-high leather boots. McQueen moved from that Helmut Newton-esque fantasy to another—bad schoolgirls, who mixed lingerie and silver lamé ties and skirts in with their proper blazers and duffels. For a splendid finale, he brought out romantic flouncy skirts....' Lee did multiple variations of this look throughout the collection and this neckline in particular was a prominent detail. This dress was a piece made for production for the shops and seems to be a combination of the final look of the show and an earlier ivory version of the dress. I have included both those reference looks here. It is extremely beautiful in person.

'I wanted it to be romantic, beautiful,' McQueen said of this collection and the pieces, the dresses especially, were just that. The dress has a beautifully romantic and slightly subversive scooped neckline. There is an inset of black silk chiffon that is gathered into a raw edged ruffle all the way around the neck line. It dips low in the front and also at the back. A silk satin band acts like a halter corset and is set under the breasts for support. Little capped silk chiffon sleeves are set on each side and their edges have also been left raw and unfinished. Under the bust there are panels of the same silk as the halter detail that wrap around from the back zipper. These curve down and past the waist at the front to add shape through the waist. The dress is made from long vertical seams that run from under the breast to the hem. The dress skims over the hips and then flares out dramatically at the hem. Long triangle shaped panels have been set all around the skirt between the vertical panels to create that wonderful flared fullness. Under that is a second inner layer that's also completely vertically seamed. The inner layer is made from a soft black silk but when it reaches the hem it also has insets of the black lace. These act as support to the top layer and help keep the shape and fullness of the skirt. Under all of that is another layer of silk chiffon with a raw edge hem. The lace has been treated so that it is slightly stiffened and this helps to retain the volume of the dress. Inside the bodice there is a banded corset shaped almost like a bandeau for support and some extra shape. At the back zipper on either side are more of the laced panels to give the illusion that you are completely laced and corseted into the dress. The dress is spectacular and it is immaculate. This is a wonderful example of his work during this time. period. And it's even better on the body. It appears to have been worn very little if at all. Excellent condition

Fully lined in layers of silk as described above. The inner corset closes with lingerie hook and eye and then dress zips to close over that. Tagged a McQueen 42. The dress appears to have been worn very little if at all. I have included the measurements for the outer dress as well as the inner corset. You could extend/add to the inner corset to get more room if needed

Inner corset: 16.5" flat across from side seam to side seam, outer bust to 18" flat across from side seam to side seam
Inner waist: 14" flat across from side seam to side seam, outer bust to 18" flat across from side seam to side seam 
Hips: to 18.5" flat across from side seam to side seam
Bodice: 15" from top of shoulder to inner waist
Total length: 40" from top of the shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4234

Reference Photos/Video: (1-6) Fall 2002 Alexander McQueen Runway.  /  (7) From the book "Alexander McQueen" Edited by Claire Wilcox.  /  (8) Alexander McQueen dress on display at the "Lee Alexander McQueen & Ann Ray: Rendez-vouz" exhibit at the Crocker Museum in Sacramento, 2023. (photo courtesy @pmb1976)

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

This is the dress that was just worn by AnnaSophia Robb and this amazing dress is from the Spring 2001 Dior Boutique Collection and is a fantastic example of the work John Galliano was doing during this time period. There were two versions of this dress made. One that had a simple straight hem and the other that had the buckled garter strap that this one has. I personally prefer the one with the strap. It just elevates the entire dress to a different level and it has a bit of a subversive sexiness that you see in Galliano's work. I have included some shots from the 2001 show that show the use of the buckle in several pieces. This dress was a production piece and not shown in the show but I think it should have been. It is a fantastic dress and I'm very pleased to have it in the shop.

The dress is strapless and cut to follow and skim over the body. Shaped cups sit low on each breast and have underwire built in underneath them for a lift. It skims from there over the waist and hips. The shape is created by long panels that are sewn vertically together. Where the panels attach they are top stitched with a zigzag stitch for added detailing. Down the front two seams there are silver metal loops and pins. These are meant to be detailing but you could actually use them to lace the dress in at the waist if you wished by adding some cording or laces. The top of the dress is trimmed with a strip of blue stamped leather to appear like a snake skin. On one side just above the cup it buckles into place. A layer of deep blue tulle peaks out from above the edge. There is a second buckled leather piece that sits at the base of a high slit down one side of the leg. This is meant to strap around your upper thigh like an exposed garter beneath the slit above. This is what gives this particular dress is extreme sexiness. It is a fantastic dress and is fantastic on. Excellent condition with one small note below.

There is an inner cupped and shaped bodice made of lingerie netting that is lightly boned. There is rubber around the inner edges at the top and bottom of the corset to help hold it into place. The rest of the dress is lined in a blue silk. The corset closes with its own zipper inside and then the dress closes over that with hidden side side zipper. The garter buckles around the leg. Each side of the garter extends out from each side of the hem so you don't have to worry about the size of it around your leg as it is not a closed circle. I see a little bit of scuffing to the fabric. Please see the two photos after the label shot.

Bust: to 16" flat across from side seam to side seam with an A-B cup
Inner waist: 14-15.5" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Bodice: 9" from top of bodice to inner waist
Length: 35.5" from top of bodice to hem

Modern Sizing Equivalent: XS-MED

Item# DD4235

Reference Photos: (1-2) Spring 2001 Christian Dior Runway, Looks 28 & 29.  /  (3-5) AnnaSophia Robb, in this dress, for the Women in Film Event, 2023.

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

Bill Gibb was one of the most influential designers in 1970s Britain and his clothes were worn by the rich, the famous and the beautiful. Much of his work verged on couture and he was unrelenting in striving for perfection. His work has a high fantasy element to it. Every piece I bring into the shop is very special and the range he had was incredible. This set is also a little extra special because its twin in ivory was part of the 'Great Names in Fashion' exhibit at the Fashion Museum Bath

The body of the dress is made of a deep brown fluid jersey fabric that is light in weight and drapes amazingly on the body. It cascades and flows to the floor from the densely beaded panel that sits across the upper bust. A second matching panel is also set at the back. Both panels have been completely hand covered with a design that is made out of hundreds of soft pink, cream and silver glass tube beads. Along the one side of the front panel there is a row of metal buttons with a little flower design on them that runs from the top of the shoulder to just past the waist. The buttons are functional and hold a decorative overlay in place that tops the inner dress. This overlay loops under the opposite arm and wraps around you to the back where it attaches to the panel there. The overly adds this incredible draped Grecian feel to the dress and it also gives it added movement when you move. The dress underneath is a long sheath that falls from the shoulders and widens out slightly as it nears the hem. The sleeves are long and each one ends with more of the gold metal buttons. The entire dress is detailed with these strips of tiny little raised beads on a gold strip. These follow all of the edges of the dress and he even use them for all of the long interior seams of the inner dress even though you don't easily see them. I just love that he did that and it just shows you the attention that was paid to dresses during this time period as opposed to modern pieces where they probably wouldn't have bothered to put extra detailing where no one would ever see it. The strips add a touch of weight and help the dress to fall perfectly around you and they also catch the light for added glamour. During this time period these jerseys would have been cutting edge fabrics and an unusual choice for a designer to use and considered very avant garde. It is stunning and a beautiful example of Bill Gibb's work and its never a bad thing when it is a proven museum worthy piece. Excellent condition.

The dress is unlined and slips over the head top wear. The attached panel buttons into place over the interior dress. Each cuff has loop and buttons to close. It appears have been worn very little if at all. The loose and easy cut should allow it to fit a range of sizes. I have given the comfortable range of measurements while laying flat. On a smaller frame it will just drape more

Sleeves: 24"
Slightly dropped shoulders: 15.5"
Bust: 16-19.5" flat across from side seam to side seam
Waist: 16-20" flat across from side seam to side seam
Hips: 18-22" flat across from side seam to side seam
Length: 57.5" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4232

Reference Photos: Bill Gibb Dress on display at the "Great Names of Fashion Display" Exhibit at Fashion Museum Bath.

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 an incredible dress. I have had both this and its twin that was just worn by Elle Fanning to the Critics Choice after party for some time and I love them. The dress is identical in every way to the ivory except that this on is black with an ivory detailing and the one Elle wore was its mirrored opposite. This was a dress produced for the shops and to my knowledge was only made in these two colors, the ivory and black. This black one is a bit of a time capsule as it still has its original hang tags in place and was never worn. It is an incredible dress and being able to see just how beautifully it works on an actual body is just wonderful. I am obsessed with it.

The dress is gorgeous. It definitely takes inspiration from the bias cut couture pieces of the 20s and 30s. McQueen was a master tailor and the seam work and simplicity of this dress do not hide that fact. It is made from a beautifully weighted black silk satin that has that same liquid feel that the best of the 1930s pieces did that were made from this similar fabrics. Like those dresses of the thirties this is also cut on the bias but with a more shaped silhouette. I love that the fabric is heavy enough and that the dress is lined so that it will not highlight 'flaws' underneath like some bias cut pieces can. It is cut to flow over the body and skim its way over bust waist and hips to the floor. The neckline is set wide across the shoulders and has a soft and feminine drape. On the one shoulder there is an inset of ivory silk. There is actually an opening where that is inset so if you move a certain way you get a tiny flash of bare skin. Inside of the draped part of the neck line is more of the same ivory silk and again it is only when you move a certain way that you get an unexpected flash of that color. It skims over the bust and is brought in at the waist through seaming. The skirt flows over and hugs the hips and then flares out as it reaches the hem. At the back there is extra fabric worked around the center seam to give you a bit of a trailing feel behind you. This flaring out at the bottom and the extra bit at the back give you fabulous movement when you walk or move. It also adds to the hourglass shape the dress has. The sleeves are cut in the proper way of tailoring and are set on a slight curve to follow the shape of your arm. Running up each cuff are 10 tightly spaced silk covered button and loops. Each one is functional. The dress comes with its original tie belt made of a matching black silk. The belt has been cut extra extra long and widens out slightly as it nears each end. This lets you loop it around once and have the ends trail down, or you can wrap it and tie it anyway you wish for a wider more cinched in feel at the waist. The dress is spectacular. It is easy to wear and it's classic design means you can style it numerous ways. Excellent condition.

Fully lined in a black silk chiffon and closes with a hidden set side zipper. Ten functional buttons on each sleeve. Tagged a McQueen 40. The bias cut fabric does have some stretch. The measurements below give you the comfortable range the fabric has when lying flat. It has its original tags attached and was never worn. It is in its original supermodel length. The bias cut should allow it to fit a range of sizes

Sleeves: 26"
Shoulders: approx 15"
Bust: 16-21" flat across from side seam to side seam
Waist: 13-17" flat across from side seam to side seam and can be cinched in by the belt
Hips: 16-21" flat across from side seam to side seam
Length: 64" from neck to front hem, 68" to the back hem

Modern Sizing Equivalent: XS-MED

Item# DD4229

Reference Photos: Elle Fanning in Alexander McQueen from the Shrimpton Couture Archives at the Critics Choice After Party, 2023.

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 Yves Saint Laurent dress is extra special because it is the twin of the dress that was shown on the 1983 runway and it was featured in the advance photos given to press that season as well. I love having both reference photos for you because not only does it show you how wonderful the dress is on the body but it also shows you how much styling changes it feel. On the runway it was shown with a turban and a lot of jewellery for a very dramatic, more evening feel, whereas in the advance photos the model is running through a field and it has a pretty spring daytime feel. I love that versatility. It is an absolutely stunning dress and these floral prints that he was doing during this time are some of my favourites from his work.

The colours in the silk on this dress are amazing. The silk has held the colour extremely well and they are as crisp and vibrant as the day it went on the shop floor. Yves 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 choice of silk also makes it feather light and allows it to float around you when you move. The bodice is cut to skim over you with a loose and easy feel and has a V neckline at the front. The waist is seamed under that but it is cut loose and generous. The matching belt is tacked into place at the back and then you can use it to cinch in the waist as much as you need. The skirt games over the hips and then flares out quite a bit. The front is cut shorter than the back so you get a bit of a trained effect floating behind you as you move. You can see this in the pictures of the girl in the field. The sleeves are spectacular. They end just below the elbow and are cut with a full balloon sleeve to pouf above their wide and easy elastic cuffs. Unlike a standard balloon sleeve, he has cut them so the volume falls mainly towards the back of your arm which gives them a unique feel. It is absolutely gorgeous. Excellent condition

Unlined and closes a side set zipper. Each sleeve has elastic at its cuff. Tagged a YSL vintage 42. The matching tie belt is attached at the back of the waist. It appears to have been worn very little if at all. It's easy cut should allow it to fit a range of sizes

Sleeves: 16" to the shortest part and approx 22" to the longest
Shoulders: 15.5"
Bust: to 21" flat across from side seam to side seam
Waist: to 14.5 " flat across from side seam to side seam and you can cinch it in with the belt
Hips: to 21" flat across from side seam to side seam
Bodice: 16" from top of bodice to waist but will blouse up a bit when belt is tied
Skirt: 42" from waist to front hem, 46" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD4226

Reference Photos: (1) Spring 1983 Yves Saint Laurent Runway.  /  (2-5) Spring 1983 Yves Saint Laurent Ready to Wear Advance. Photos by Tim Jenkins.

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

Adele Simpson launched her label in 1949 and remained at its helm until the early 1980s. She became known as 'America’s First Ladies’ Designer' after dressing 6 first ladies over the course of her long career. She was also one of the founders of both the Council of Fashion Designers of America (CFDA) and the Fashion Group International (FGI). She favored quality and longevity over trends and her pieces were well made ready-to-wear at prices that were attainable for the modern woman. She was once asked what fashion was to her and she replied that for her it was 'a fascination with the way people all over the world express their sense of beauty.' This is a beautiful example of her work during this point of her label.

This dress is just gorgeous. It is made out of a deep red brocade mixed with an ivory pattern that covers the entire dress. worked in through the design is a muted gold thread that gives the entire dress a touch of a metallic feel. I love the elaborate floral pattern that runs over the entire dress. With the  metallic finish to them it really makes this pattern pop. The dress is cut to skim over the bust and the neckline is a simple scoop. From there the dress skims down over the waist and hips and the skirt flares out beautifully as it reaches the hem. This would be a beautiful dress just with this fabric alone but this one has the added detail of rhinestones, silver braiding and gold beads that elevate it even more. The silver braiding is laid out with the beads and rhinestones applied on top of it. It circles all the way around the neck and then runs in a double row down the front. From there it runs around the waist and is set slightly high to emphasize the empire cut feel that the dress has. More of the rhinestones and silver run around the end of each sleeve and then a panel runs up vertically to just below the elbow. This at an incredible amount of glamour to the dress and I love it. It is a stunning piece. Excellent condition.

Fully lined in a red silky rayon and closes at the back with a zipper. The occasional rhinestone may have a slight darkening to it. It looks to have been worn very little.

Sleeves: 22.5"
Shoulders: 15"
Bust: to 18" flat across from side seam to side seam
Waist: to 16" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: 13" from top of shoulder to detailing at waist
Skirt: 44" from detailing at waist to hem with 3" turned under the hem

Modern Sizing Equivalent: SML-MED

Item# DD4224

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 am so excited to bring you the second part of our 1930s capsule. This is one of a dozen dresses from a single owner collection of beautiful 1930s dresses. Her collection was lovingly sourced over decades and she has decided that it is time let them back out into the world for others to enjoy. Outstanding designs from this era are increasingly hard to find. Her collection represents some of the best of the era that I have seen in a very long time. Most are in excellent condition and the few included in the capsule that do have some flaws are such outstanding designs that I feel there is still room for someone to love them and wear them as they are, or perhaps to put in the additional work to repair them. This is just a tiny sampling of her overall collection and I hope to have more of these capsules for you in the future.

This is a stunning inky black silk velvet dress with beautiful detailing. These are always a challenge to photo since it is entirely cut on the bias and is really only best seen once on an actual body. My dress form is not doing it anywhere near the justice it deserves. The bodice is cut to drape loose and easy over the bust with the waist brought in just a touch through angled seaming. It skims over the hips and the skirt falls to the floor under that. When you stand still the skirt falls in a smooth column but when you move you get a pretty amount of volume and movement. The dress slips over the head to wear and has an opening at the neck that does up with a series of velvet covered buttons. The collar is gathered around to the front of the neck where there are strips made out of glass rhinestones that hold the collar in place and add pretty detail. This one came with a stunning rhinestone belt that is made of four rows of rhinestones stacked to form a pyramid or triangle on each side of the buckle. The oversized emerald cut glass rhinestones catch the light incredibly. The band is a black crepe and it hooks into place at the front for instant extra glamour. The sleeves are gorgeous. They are cut extremely wide and full to a seam just under the elbow and then they narrow down sharply to the wrist. Almost like a poet's sleeve. Running down the top fuller part of the sleeve are two open slits. The band between slits lets the fabric sit on top of your arm and then you see your arm through the slits. The full part of the sleeve drapes under that. They are insanely beautiful and I love them. If you are a fan of these pieces from the late twenties / early thirties you know just how exceptional and rare it is. Excellent condition with a small note below.

Unlined and slips on to wear with buttons at the neck as described above. All the inner seams are finished by hand and or pinked. The end of the belt is a different fabric from the dress and may not be original to the dress but it's the one that came with it from my client. You could easily switched it out for a velvet if that bothered you. The buckle is just too incredible not to keep them together. For a garment almost 100 years old it is in amazing condition. The bias should allow it to fit a range of sizes.

Neck: 15 3/4"
Sleeves: approx 25.5"
Shoulders: no true seams
Bust: 18-21" flat across from side seam to side seam
Waist: 14-21" flat across from side seam to side seam
Hips: 15-21" flat across from side seam to side seam
Length: 54.5" from top of shoulder to hen

Modern Sizing Equivalent: SML-MED

Item# PC019

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 am so excited to bring you the second part of our 1930s capsule. This is one of a dozen dresses from a single owner collection of beautiful 1930s dresses. Her collection was lovingly sourced over decades and she has decided that it is time let them back out into the world for others to enjoy. Outstanding designs from this era are increasingly hard to find. Her collection represents some of the best of the era that I have seen in a very long time. Most are in excellent condition and the few included in the capsule that do have some flaws are such outstanding designs that I feel there is still room for someone to love them and wear them as they are, or perhaps to put in the additional work to repair them. This is just a tiny sampling of her overall collection and I hope to have more of these capsules for you in the future.

This pretty little dress is made from a bias cut silk that has a slight starched feel to the fabric. This lets it hold its shape. The bias cut makes it drape and move unbelievably beautifully once on the body. The pattern is a pretty pale yellow floral print on a deep green backdrop with lighter green thatching worked through the pattern that gives it the look of being painted onto the silk. It's cut loose and easy through the bodice with this pretty angled seam that sits just under the bust.  The waist is cut to be more loose and open and it has its original belt with a fabulous early acrylic buckle. This lets you add shape through the waist for a more defined silhouette. The skirt falls from there and it flares out all the way around the hem. The lightness of the fabric combined with the bias cut give the skirt incredible movement once on. It will move and flow around you with your slightest movement. Highlighting the neckline is this incredible pleated ruffled finish made from a soft yellow, starched silk organza. It's an incredible and pretty dress. Excellent condition with a minor note below.

Unlined and slips on to wear. Hand finishes throughout. There is a tiny bit of a mark on the edges of the collar and the top decorative part of the buckle is missing on one side. Please see the last two photos. For a dress almost 100 years old it's in remarkable condition. The bias cut should allow it to fit a range of sizes.

Sleeves: approx 16"
Shoulders: 15"
Bust: to 18" flat across from side seam to side seam
Waist: to 15.5" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length 50" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# PC013

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 1952, Givenchy founded his namesake house on Rue Alfred de Vigny in Paris and quickly rose to fame as one of the grand couturiers. 16 years later for the 1968-69 season, he added a ready-to-wear line of clothing and accessories called 'Givenchy Nouvelle Boutique'. The line was initially sold in the United States exclusively through Bergdorf Goodman stores and was eventually available at other retailers as well. The line was high end and extremely well made. He launched this line to expand his customer base and it made to appeal specifically to his non-couture clients. This label continued until 1992. This set is very reminiscent of the pieces that Audrey Hepburn was wearing in the 1972 to 1976 time period. It's labels are extra interesting. Besides the Givenchy Nouvelle label in the top, it also has the black boutique label on the skirt and that label has a numbered tape behind it, which was usually reserved for special orders made in the atelier. I wonder if the original client perhaps bought the ready-to-wear top and then had a skirt custom-made… or perhaps both pieces were a special order and they just used a label on the top that was on hand in order to put the fabric content tag on. It just makes the set a little extra interesting. It could not be more gorgeous.

The set is made up of two separate pieces, a skirt and matching top. They are both made out of a cotton fabric that has a slight ribbed texture running through it. Over that is a charming little design that depicts hundreds of little round pine cones that completely cover both pieces. The backdrop is black and the print is a deep coral orange. The top is stunning. It has an elastic neckline that is squared off at the front. The sleeves are shaped into a high cap and have a little bit of stiffened black tulle underneath their edges to help hold the shape that you see. The elastic that runs through the entire neckline would allow you to wear this off-shoulder if you wished. The top skims over the bust and then widens out over the waist to its hem. It is very easy to wear and it's only when tucked into the skirt that you get shape. Each sleeve is full and poufed above its elastic cuff. You can then wear that tucked into the skirt. The skirt has a band at the waist and then is very full under that. When you stand still it falls in a pretty column but when you move you see that there are actually yards and yards of fabric in the skirt. The skirt is made of two tiers of fabric. One that is gathered into the band at the waist and then the other one is set on top of that with a ruffled finish to create a deep 20" lower hem all the around the bottom. It's spectacular. The cotton keeps it light and easy to wear while the cut and design are phenomenal. This is beautiful and classic Givenchy for this time period. I've included some reference photos of Audrey so you can see how beautifully pieces similar to this sit on the body. It appears to have been worn very little if at all. Excellent condition

Both pieces are unlined. The top slips over the head with elastic at the neckline and cuffs. Stiffened tulle at the top of each shoulder for shape. The skirt closes with hook and eye at the waist and snaps below that. Both pieces look to have been worn very little if at all.

Top
Sleeves: approx 19" and will come up when on
Bust: 16-21" flat across from side seam to side seam
Waist: 17-19" flat across from side seam to side seam
Bottom hem: 19-22" flat across from side seam to side seam
Length: 25" from top of shoulder to hem

Skirt
Waist: 12" flat across from side seam to side seam and you could easily move the hooks at the waist to get 1.5" more
Hips: open
Length: 42" from waist to hem with 2" turned under the hem

Modern Sizing Equivalent: XS-SML

Item# DD4220

Reference Photos: (1) Audrey Hepburn, in Givenchy, photographed by Henry Clarke for Italian Vogue, Feb 1972.  /   (2) Audrey Hepburn, in Givenchy, photographed by Elisabetta Catalano at her apartment in Rome, March 1976.

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 Dior Resort 2012 collection was focused on pieces that would travel from the city to holiday. The twin of this dress was Look 11 in the collection. Vogue said of the collection that; 'That blue (used in another piece, along with coral, helped create a summer-in-Portofino vibe. If a resort could claim royalties for atmosphere theft, Portofino would surely be that place this season, and Slim Aarons could stake a claim too, because his photographs of the monied at play have been equally influential.' ...they continued to mention the crochet pieces specifically saying 'Maybe that accounted for the sixties flavor, not just in those Liz Taylor-worthy caftans and a handful of crocheted hostess gowns'. To me this was one of the best pieces of the collection and certainly one of the prettiest.

This dress is just a stunning testament to the work that house of Dior does. It is out of a dyed cotton and entirely hand crocheted. This actually gives some weight to the fabric but the cut makes it feel perfectly balanced once on the body. The colours are extraordinary. They combine a natural un-dyed cotton with a bright coral tangerine and a strong bright pink. The crochet work has several different weights to it in terms of the pattern and these helped form the design that runs over the dress. The colours are used to further emphasize the pattern. Most of the weave has an open effect so that you catch a glimpse of bare skin underneath or the colour of whatever you choose to wear underneath. The neckline is high and I love the feather feeling pattern that runs around its base and over the shoulders. The opening for the arms are cut on an angle down from there. The pattern switches to horizontal bands over the bust and then the rest of the dress falls from under that to the hem. A large diamond pattern covers the main body of the dress and then around the hem it switches back to a more horizontal feel where you have a more elongated diamond design. I love the little Dior embossed button at the back of the neck. With Dior it is always these little details that are wonderful to see. The dress is absolutely gorgeous and a vacation or summer must have. It looks to have been worn very little if at all. Excellent condition

Unlined and slips on to wear with a button above a keyhole at the back of the neck. It looks to have been worn very little if at all. Tagged a small. The knit does have some stretch and I have done the measurements at their a comfortable range laying flat.

Bust: 14-16.6" flat across from side seam to side seam
Waist: 14-16" flat across from side seam to side seam
Hips: 16-23" flat across from side seam to side seam
Length: 59" from top of neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD4219

Reference Photo: Resort 2012 Christian Dior Look 11, Model Alexandra Tretter.

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 walked the runway as Look 38 for the 2018 resort season. The show was held in the remote Upper Las Virgenes Canyon Open Space Preserve in Calabasas, California. The show was star packed with Rihanna, Charlize Theron and Solange Knowles there alongside the fashion pack. The inspiration for the show came from the archives and Chiuri said 'she went to the archives, where she came across the house founder’s Lascaux collection of 1951, inspired by the ancient cave paintings discovered in southwestern France a decade earlier.' This dress to me also harkened back to  the earlier Galliano era and the times that he did knits in a similar colurway. It was a favorite of the street style crowd and it is a gorgeous little creation. I believe that I read at the time these were all hand knit.

The dress is easy to wear and makes a huge visual impact that I love. It is made of a knit virgin wool that is light and feels fantastic once on the body. I love the horizontal stripes of colour that were meant to depict desert sunsets. The weave is loose and open so that you will see either your bare skin underneath or whatever you decide to wear underneath it. It is cut to skim over the body. The neckline is a wide boat neck and then it travels down over the bust, waist and hips, opening up to be quite flared as it reaches the hem. You can see in the reference video that this flare allows the dress to kick out around you when you move. The sleeves are cut to just above the elbow and they are finished with hand knotted yarn tassels in black. These circle the cuffs for pretty detail. These same hand-tied tassels are also set all the way around the hem for added movement there as well. It is just gorgeous. It appears to have been worn very little if at all. Excellent condition

Unlined and slips over the head to wear with no closures. It looks to have been worn very little if at all. Tagged a US4, GB8, FR36, IT40. The knit has considerable stretch. I have put the comfortable range of measurements lying flat and there may be a little bit of room beyond that once on the actual body

Sleeves: approx 15" and are 7-13" around the upper arm and is 12-14" around the cuff above the 2" fringes
Shoulders: no defined seam
Bust: 13-17.5" flat across from side seam to side seam
Waist: 14-18" flat across from side seam to side seam
Hips: 17-25" flat across from side seam to side seam
Length: 54" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# DD4218

Reference Photos/Video: (1-3) Resort 2018 Christian Dior Look 38, Model Zuzu Tadeushuk.  /  (4-7) Sofie Valkiers in Dior at Paris Fashion Week 2017.  /  (8) credit unknown.

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

This beauty is from the mid 2000s and I believe is was from one of the 2016 collections. For both the resort and spring collections he worked extensively with laces and created pieces similar to this one. This would be a piece that was produced for retail only as it was not shown on the runway. It has all of the feel of Tisci era with its use of stark white with a camisole feel and lace edging. He excelled in this body skimming feel without being extremely fitted. It is a spectacular dress and has never been worn so it is in pristine condition. This would make an amazing wedding dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. And of course it could also be worn to any event.

The first thing you notice about the dress is that almost weightless. It is made out of a feather light cotton guauze that gives it this light as air effect. It is cut in a long lean column that widens out as it nears the hem. The collar is edged in two beautiful panels of lace stacked on top of each other. The lace has been lightly gathered to create a slight ruffle effect as it circles your neck. The dress skims over your bust, waist and hips from there and the dress comes with its original inner white silk slip. The slip is short so that you get the feel of full transparency over the legs. Having the top layer of fabric have that touch of transparency also gives it a bit of depth while having the short slip underneath makes it wearable. On the bodice there are more lace panels that are set on an angular pattern that run down the front of the dress and then wrap around to the back. From there to the hem you have sections of horizontal pleats made out of the same fabric interspersed  with more panels of lace. Each sleeve is finished off with yet another wide panel of the lace for the prettiest romantic finish. A high slit runs up the back for a flash of leg. It is an absolutely beautiful dress. It has never been worn and still has its original Givenchy hang tag. Excellent condition

The slip acts as the lining and it slips over the head to wear. The outer dress closes with a hidden set zipper at the back. Tagged a modern Givenchy 38. Original hang tag is still attached and it has never been worn

Wait: 16" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 60" from neck to waist
Slit: 27" from hem up

Slip
Bust: 17" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Hips: 17.5" flat across from side seam to side seam
Length: 33.5" from top of shoulder hem

Modern Sizing Equivalent: XS-MED

Item# DD4221

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 Oscar de la Renta dress is gorgeous. The Fall 2011 Oscar de la Renta Bridal collection was amazing and this was one of the star looks of the show. His wedding pieces range from about $10000-$20,000 USD with the more elaborate ones like this tending to be in the upper range of that. Oscar launched his first bridal collection in October of 2002 and his wedding pieces have been worn by some of the most famous women in the world. He once said 'In the same manner that she fell in love with that man, I hope she's going to fall in love with that dress.' Countless brides have done just that. This gown is absolutely beautiful and if you are a bride looking for that very full princess feel then this is the ultimate dress for that. It literally takes your breathe away when you see and hold it in person.

The skirt of the dress is magnificent. It is made from many yards of multiple layers of a white tulle silk netting. The strapless bodice above that is a slightly more ivory colour and it is stunning. It is completely covered with tiers of lace and little scalloped silk chiffon rows. I took close ups of the work done there for you to see. The edges of the lace are embroidered and there are tiny curvy rows of ivory iridescent sequins mixed in. If that wasn't enough there are also little rhinestones set in rows over the bodice. The top curves in a pretty sweetheart neckline and it has a full built in hidden corset inside the bodice so you don't have to worry about additional underpinnings. The bust is strapless and fitted across the bodice. It is cut to follow your curves and there are built in hidden cups inside to lift the breasts. It tightly hugs the bodice and then nips in at the waist. The waist is detailed with elaborate appliquéd 'belt' that is made from various faux pearls, silver tube beads and glass cut rhinestones in different shapes. For the runway presentation it was shown with a simple sash and I believe that this was a custom add on. The skirt is extremely full and that beautiful volume would float all around you. There are 12 layers of tulle in the skirt and many of the inner ones have a double hem finish at the bottom. Under all of that there is a silk taffeta inner skirt in a deeper ivory. If you look closely you can see that under the top two layers of tulle the skirt has been gathered up all around in little drapes. This gives it this depth in fullness that is incredible. It's a subtle detail that you can see through those top layers of skirts that is just absolutely genius. I did not add any additional crinolines to the dress for these photos. It has enough built in layers in the  skirt already that it falls on its own perfectly. Every angle that you look at this dress from gives you drama and gorgeousness. It is cut longer at the back so that it flows out behind you when you walk. If you wanted even more of a real princes gown feel I think you could have the inner layers starched and you would get even more volume. I love the bareness of the shoulders the strapless silhouette gives you. It is the perfect balance to that full on princess skirt. It is a very stunning gown and is a beautiful example of Oscar's work. Excellent condition with a minor note below

The bodice is boned with padded inner cups for structure and support. The dress closes at the back with a hidden set zipper. Multiple layers of built in tulle and skirting as described above. The hem of the inner skirt is grubby and some of the very inner layers of tulle have some marks at their hems and i see the very occasional small tear near the hem. You see none of these once on. It otherwise looks to have been worn very little if at all. Tagged an ODLR 8 but seems to be cut small

Bust: 16-17" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam if inner hook is closed 13" if left unhooked or the hooks moved
Hips: open
Bodice: 9" from top of bodice to waist
Skirt: 45" from waist to front hem, 50" to inner back hem and 5*" to the ends of the tulle at the back

Modern Sizing Equivalent: XS-SML maybe a smaller MED

Item# DD4222

Reference Photos: (1-4) Fall 2011 Oscar de la Renta Bridal Collection, Look 5.  /  (5) Emma Watson in Oscar de la Renta at the premiere of Harry Potter and the Deathly Hallows Part Two, July 2011.

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 not 100% perfect but it's still very wearable and its flaws are not as noticeable once on the body. This was a piece that was produced in limited quantities for retail and was not shown on the runway. I know the date because one of my followers on instagram bought the twin of this dress in December 2012 for her own wedding. The original retail on this dress was over $20,000. The dress is completely wearable and gorgeous. This would make an amazing wedding dress for the bride or as an alternative dress in a more extended wedding celebration. And of course it could also be worn to any event.

The colour of the dress is a beautiful soft ivory. The base is a fine silk tulle netting that has panels of lace overlaid onto it and that run in horizontal rows down the length of the dress. The collar is set wide and is trimmed with two layers of silk chiffon. The upper bodice and sleeves are made from a netting that has little dots of embroidery mixed with beads. This same beaded technique is used on the double ruffled hem that circles the entire lower skirt. The other dress is meant to skim over you and widen out as it nears the ham. The back skirt falls slightly longer than the front and there's a bit of extra fabric at the back so you get the softer suggestion of a train. The body of the dress is completely covered with alternating layers of the lace mixed with tiny little rows of ivory iridescent sequins. These are all set horizontally and wrap around the entire dress. The top layer of the dress has a transparent quality to it and to make the dress wearable it is then lined in three layers of ivory silk chiffon. It is absolute beautiful. Overall excellent condition but please read the additional condition note below

It's flaw is an area of discolouration that runs down the side of the bodice on the right. If not for this discolouration the dress would have be rated as having been never worn. But I do want to be clear that it is there. I have taken both photos of it from all sides so you can see the extent of the discoloration and you can see those following the label shot. I did clean it and my cleaners said that if they were more aggressive they could probably get the discolouration out of the lace however the sequins themselves have been discolored. You could have those replaced. I think because of where it's placed you could also get clever with a sash and bow tacked into place on the side that would completely cover the discoloration. If not for this area the dress would appear to have never been worn. I have listed it for exactly what I paid for it excluding any of my cleaning costs and other costs I incur. Without the area of discolouration it would probably be double or more its price

Fully lined in three layers of silk chiffon. It has an inner corset that's zips to close and an outer hidden side zipper. Each cuff zips to close. The inner zipper is broken. It appears to have never been worn bit please read the additional description notes above. Tagged a modern Valentino 10. Sold as is and final sale.

Sleeves: approx 22"
Shoulders: no true defined seams
Bust: 18" flat across from side seam to side seam
Waist: to 16" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 60" from top of shoulder to front hem, 65" to the back

Modern Sizing Equivalent: MED-LRG

Item# DD4223

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 superb and elaborate Christian Dior dress from the Marc Bohan years. It is a wonderful example of the work being done during this time period and shows the restraint that the label could have when it delved into a more minimal cut combined with that full out glamour. The dress has classic feel of the best of Old Hollywood. Don't let the simplicity of the cut fool you. The closer you get to it the more you see the incredible and elaborate amount of detail that has been put into this fabric. This is a dream to wear and no matter good you think it looks in these photos to see this one in person will make your jaw drop.

The dress is made from a black silk net that has an incredible lace floral pattern that is edged in black silk cording worked through the lace. It is made from three layers. The top beaded layer, a black silk chiffon layer under that and then a nude silk chiffon inner layer that is itself backed in a black silk. Adding that nude layer gives the dress a bit of an illusion of wearing next to nothing underneath. The dress is suspended from two beaded straps that curve over each shoulder. The front neckline dips into a slight V and the back is a simple scoop. It's cut to skim over the body from bust to hips with no seaming to break the eye or design of the bead work. The shape is created by vertical seaming on the inner layers and the top layer is shaped to follow those resulting curves. The skirt falls to the ground from there and widens out gradually as it nears the hem. The lace netting is covered with an elaborate design made of bead work and sequins. The design is done heavier around the top the bodice and down over the waist lightens as it goes over the hips and then becomes dense and heavy at the ham. Part of the work is done to follow the lace pattern on the netting. Glossy black sequins curve over the underlying pattern and where they are applied they are stacked and layered over each other to give a slight 3-D feel. Small faceted beads follow other parts of the pattern and these are the same beads that are used to highlight the straps. Tiny little seed beads are thrown into the mix and then there are square pailettes and oval faceted beads how much larger scale to really create impact. The beads are all applied by hand and catch the light from every angle. It's an incredible thing to see and even better once on the body. The label on the dress is numbered and when you see that in a Dior Boutique label it most often meant that the piece was a special order or was a custom made order for a client in the atelier but fitted at the boutique store rather then in Paris. This is a dress that you just slip on and it is perfection. Excellent condition.

Fully lined as per the description above. It closes with a hidden set side zipper. Numbered tag. The slight bias cut will allow for a bit of movement in the measurements. The comfortable range is listed below

Waist: to 14" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Length: 60" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4241

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 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. Pipart, who had previously worked for Balmain, Fath, and Patou brought a wide range of experience in all aspects of fashion to 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.' He designed the Couture end of the label until 1998 making this a gown from one of his final seasons. This is an incredible and very beautiful piece of Haute Couture. Hey finding a gown at this level seems almost miraculous. It is truly one of the most beautiful things I've ever seen.

The twin of this dress walk the runway for the Haute Couture show that season and it was also photoed for L'Officiel that season and we also found a stunning editorial photo that caught it in the most spectacular shot. I love having all of this documentation because it shows you how phenomenal this dress is once on the body. This is truly a dress that you know has to be a true Haute Couture piece the moment you set your eyes on it. I think it is a work of art. The dress is strapless with an optional very tiny strap that comes out from the center of the bodice and wraps and ties around the neck. It will stay on with or without that small strap so it's your choice to wear it or not. The bodice is fitted to the body to hold the dress in place and the inner structure is outstanding. It is boned and cupped but all of that work is completely hidden underneath the silk lining. On the exterior the entire bodice is covered in glossy black beads that are spaced tightly together. The size of the beads vary as they run from the waist up to the top of the bodice. They are smaller around the waist and spaced further apart and then by the top of the bodice are so tightly spaced that they are almost stacked on top of each other. This creates a dense application of bead work that completely covers the black silk velvet base. In spots around the bodice are these large square-ish black pailettes for blocks of gloss to catch the light even more. Then interspersed among all of that are black iridescent feathers and long metallic strands. These are set to stand straight out from the bodice to create a cloud around you. The feathers add this fantastical sense of couture and fantasy. They also create incredible movement as each one moves independently from the other with the slightest bit of a breeze. The bodice is molded and shaped around you and then nips in the waist. The skirt under that is is a statement in its own right. It is an explosion of silk that poofs out all the way around you. The volume is so much that it almost creates a shelf as it come off of the hips. The silk curves up and under the hem to create a bubbled effect. It is shorter at the front so when you walk and sit you can see some leg. This helps to balance out the volume that surrounds you and add a flash of bare skin. It is longer at the back and depending on your height will trail out behind you just a touch. All of the volume is created by an inner structure that is hidden inside the skirt. You can feel stiffened netting and tulle that is all set inside the skirt so that the shape is held perfectly. I used no extra crinolines or anything else under the skirt to add volume when I shot these photos. The volume is all built in and the result of the masterful construction of this gown. The bead work is glass and between that and the sheer volume if the skirt the dress does have weight to it. When you hold this dress it is very heavy and you can feel that it is a Haute Couture piece. Once on the weight of it distributes and balances out wonderfully and the inner construction holds it all perfectly in place. This is truly an extraordinary piece of modern couture and is exceptionally beautiful. It appears to have been worn very little if at all. No matter how good you think it looks in the photos, it is better in person. Excellent condition.

Fully lined in silk with light burning through the bodice an additional added structure inside. The skirt loops under itself so the lining is the same fabric as the exterior. The skirt is filled with what feels like stiffened netting and tulle. This is placed throughout the entire skirt to give it the volume you see. There is an inner zipper to close the bodice and the waist stay to help the dress stay in place. Two tiny straps extend out from the center of the bodice and tie in place behind the neck. It appears to have been worn very little if at all. The dress is finished to Haute Couture standards and entirely made by hand. The proper Haute Couture label is present.

Waist: the inner waist stay has three hooks to accommodate a 23" 24" and 25" around waist size. If you left that unhooked or extended it the waist will accommodate up to a 26" sized waist.
Hips: open
Bodice: 10" from highest point of the bodice to the waist
Skirt: approx 17" from waist to shortest part of the front hem, 52" to the longest point of the back hem

Modern Sizing Equivalent: XS-SML

Item# DD4240

Reference Photos: (1-3) Fall 1996 Nina Ricci Haute Couture Runway.  /  (4) Fall 1996 Nina Ricci Haute Couture. Photo by Bruno Bisang.  /  (5) Inna Zobova in Nina Ricci Haute Couture for L'officiel de la Mode n808, September 1996. Photo by Michel Nafziger.  /  (6-9) Jurnee Smollett, in this dress, at the Vanity Fair After Oscars Party, 2023.

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

A white version of this dress walked the runway in 2003 for Look 75 and I it and was one of the best dresses of that collection. Once in production it was also made in black and it is as good or better in this colour. The dress has the added provenance of being the dress that was recently worn by nominee Paulina Alexis for this years Critic's Choice Awards. I love that I have tons of photos of her, the white runway version of the dress, and the runway video so that you can see just how fantastic this dress is on the body. It is stunningly beautiful. The show was a huge success and the Vogue loved the evening pieces especially; "For the evening review, it gets even better. Valentino's communiqués from his couture collection show up as delicate metallic-embroidered chiffons made into fragile capes, cardigans or dresses. And for the grand occasion, there's a full battalion of the designer's fabulous signature chiffon gowns." The dress moves beautifully and is elegant and chic. That stunning halter top makes it feel insanely sexy too. A beautiful example of the magic of original Valentino pieces.

I love this dress with its incredible volume and amazing use of fabric. The dress is made from yards and yards of a black bias cut silk chiffon that was pleated into sharp little knife pleats. The fabric is very light in weight and this gives you that fantastic floating sensation all around you with your slightest move. The dress is suspended from straps that come out from the center of the bust. The straps continue down and are attached over the fabric of the bodice to give the illusion of it crossing and wrapping around the body. These go all the way around to the back and then come back around again. The straps are heavily embellished with a variety of sequins and beads that catch the light beautifully. He used larger beads so it has this fantastic 3D effect. At the back the straps curve down front he shoulder on an angle to meet in the center. The top of the bust is rounded into a pretty sweetheart shape and the back is cut straight across. The silk on the bodice is gathered in tiny little pleats and set horizontally. Under that the dress cascades to the floor in many yards of feather light silk chiffon. This is where the dress gets truly magical. There are three layers of silk that make up the skirt with the very top layer completely and meticulously pleated into sharp knife plates that gradually soften slightly as they near the hem. The silk is all cut on the bias and the layers flow out in an ever widening silhouette to the ground. There are yards and yard of chiffon that make up the skirt. It is very flattering on the body and it creates a fantastically romantic and dramatic effect as the silk floats around you the slightest bit of movement. It is amazing. This is truly stunning dress. Excellent condition

Fully lined in a black silk and closes with a hidden set side zipper. A tiny bit of softening of the pleats here and there but there are so many yards of silk in the skirt that its immaterial. Tagged a vintage Valentino 12.

Waist: to 16" flat across from side seam to side seam
Hips: to 22.5" flat across from side seam to side seam
Length: 60" from neck to hem

Modern Sizing Equivalent: MED-LRG

Item# DD4239

Reference Photos: (1-3) Spring 2003 Valentino Runway, Look 75.  /  (4-5) Paulina Alexis in this dress at the 2023 Critic's Choice Awards.

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

This was the collection where Donatella went back to using and styling her models to look like super models like her brother Gianni had done in the past. Vogue said that; 'The aura of glamour that sparked off the flying hair and luminous faces of Carmen Kass, Daria Werbowy, Eugenia Volodina, and Karen Elson was a strong reminder of what once made Versace electrifying.' The collection focused mainly on daywear but a very Versace notion of that. This was Look 25 in the line up and was the strongest piece of the shorter dresses presented. Its twin ended up being the one used for the ad campaign that season and was shot on Demi Moore who looked utterly fabulous in it. I am very happy to have that shot, runway photos and a video so you can see how amazing this dress is once on the body. It is gorgeous.

The dress is made out of a printed silk chiffon that combines numerous abstract versions of various exotic skins. These are laid out in a pattern that mixes and matches them all and this effect is heightened even further by the detailing work that is done on the skirt. The dress is cut to highlight every curve. The bodice is a single layer of the silk chiffon. To keep it in place you slip your arms through the sleeves and then simply tie it around the neck. The front is gathered into two halters that run from the high set waist to the attached scarf at the neck and there's a slit that runs down the center to leave a sexy glimpse of bare skin. The sleeves are long and simple, narrowing down slightly as they reach the wrist. The back is left bare across the top and that long scarf falls from the neck to cascade over it for a bit of a peekaboo effect that is very sexy. The skirt starts from under the bust and is fitted through the waist. Inside there's a bit of a stiffened net corset to help shape and hold it in place. It is fitted over the hips and narrows down as it reaches the hem. An small open vent runs up the back to allow you to walk. The skirt is quite remarkable with the long strips of fabric sewn and overlapped horizontally around it. When you look at it close up you realize it that it's all individual strips and it is quite remarkable. It is stunning and so Versace in feel. Excellent condition

The halter part is unlined and the skirt is lined in a black silk chiffon. There is a stiffened net partial corset that runs around the interior waist for shape. It closes with a hidden set side zipper and ties into place around the neck. No size tag present. It appears to have been worn very little if at all.

Sleeves: approx 25"
Shoulders: no true defined seam
Bust: to 17" flat across from side seam to side seam with room for an A-C cup at front, maybe a touch more if needed
Seam under the bust: 15-16" flat across from side seam to side seam
Natural waist: to 13.5" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Bodice: 10" from neck to seam under the bust
Skirt: 29" from seam under the bust to hem

Modern Sizing Equivalent: XS-SML

Item# DD4216

Reference Photos/Video: (1-4) Fall 2005 Versace Runway, Look 25. Model: Hana Soukupova.  /  (5) Demi Moore for the Fall 2005 Versace Ad Campaign photographed by Mario Testino.

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

This was one of the best dresses from the Spring 2017 collection. It instantly sold out and was photoed on everyone lucky enough to get their hands on one. Its twin walked the runway and Ellie Goulding wore hers to Cannes. “Everyday femininity” was the main inspiration behind the collection and Vogue noted that the usual pant loving Marant; "..admitted that she’d been feeling the idea of dresses more than usual, and the best of the lot were as romantic and flirty as the designer gets: replete with ruffles, covered in Liberty London-style floral prints, and finished with the billowing statement sleeves we’ve seen all over the runways for Spring." This was Look 29 on the runway and one of the best of those dresses.

The dress is in mint condition and was never worn. It still has that crisp, just off the rack feel. It is the perfect easy little summer dress and still feels relevant and fresh. It is made out of a crisp cotton mix covered with a fabulous print that has a strong pops of blue running through it. I love the crispness of the fabric. It is what allows the dress to hold it shape once on. The dress is cut to skim over the bodice and dips down on one side to leave your shoulder and arm completely bare. On the other side there is a dramatic ruffle that starts at the neckline, circles around the shoulder and then trails all the way to the hem at the back. The waist is seamed and the skirt has the illusion of being wrapped in place around you. I love how the hem curves up on the side to play into that wrapped feel. The bottom of the hem is finished with a 6 inch ruffle and this lets it flare out and away from you. The dress comes with a matching tie belt so you can cinch in the waist and I've seen this dress worn with a variety of other belts that really change up the look of the dress. Excellent condition.

Unlined and closes with a hidden set side zipper. Tagged a modern 40. It was never worn and is new without tags

Bust: to 18" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 32" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4215

Reference Photos/Video: (1-3) Spring 2017 Isabel Marant Runway, Look 29. Model: Yasmin Wijnaldum.  /  (4-5) Ellie Goulding at Cannes Lions Entertainment in France, June 2017.  /  (6) Spring 2017 Isabel Marant Matches Fashion Lookbook.

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 was designed by Belgian-born Jules-Francois Crahay, who headed the Lanvin ateliers from 1964-1984. He has been noted as one of fashion’s 'great colorists with his colorful patterns making his 1970s Lanvin designs hugel​y ​desirable and influential.' His time at the Lanvin label is one of my personal favourites for the house. I especially love the his work during the period through the late sixties and into the early 1970s. He was a genius at print and colour and he pushed the envelope in terms of using cutting edge fabrics available during this time period. This dress is from the early part of the 1970s and it is incredible. The Lanvin label is numbered and it is made to demi-couture standards. I love it.

This dress is incredibly beautiful in person. The camera really cannot do it justice. It is made from a fine blue silk tulle that has a floral pattern embroidered over its surface in the same blue. The entire dress is lined in a purple silk and this gives it this very unusual colour that lies somewhere between a deep blue and purple. A metallic gold thread was then embroidered over parts of the floral design. Around the entire lower skirt is a dense application of the gold with two wide panels completely covered in a open chain link design. These circle around the entire hem and lower skirt with more of the floral netting in between. The result is fantastic and I think in person the effect is far stronger then how it photoed. I love how the gold catches the light from every angle. The bodice skims over you and the sleeves are long. Each sleeve has a subtle poufed effect above its elastic cuff that would show more once on an actual body. The waist is seamed but cut more loose and easy. If you wanted a more defined shape you could easily add a ribbon or a belt. The skirt falls to the floor from there and widens out as it nears the hem.  Besides adding beautiful detail those added panels of gold at the hem also help to give just a touch of weight and help the skirt hold its volume and shape. It is very light in weight and just stunning. Far better person then the camera is doing it justice. The fabric has so much texture and the metallic bits pick up the light perfectly. Gorgeous. Excellent condition 

Fully lined in a purple silk chiffon through the top and a purple silk through the skirt. It closes with a back hand set zipper and there is elastic in each cuff. Hand finishes and hand finished inner seams mixed with machine work. The label is numbered. It looks to have been worn very little if at all. The bias cut of the lining and the net give it a little give so I have put the comfortable range of measurements where it will give a bit.

Sleeves: 26"
Shoulders: 14.5"
Bust: 17-19" flat across from side seam to side seam
Waist: 14-15" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Bodice: 15" from shoulder to waist
Skirt: 43" from waist to hem

Modern Sizing Equivalent: XS-MED

Item# DD3925

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