This is a gorgeous Valentino dress whose twin walked the Spring 2002 runway for Look 79. For this show Valentino only showed a few red pieces which is unusual for the Mr. Valentino era as he did love to work the red into shows. This was one of a group of seven presented near the end of the show with only the finale dress also being done in red. I think it was the best of that group and it is a wonderful example of Valentino's work for his main line during this time period. I love having the runway photos and video of the dress for reference so that you can see just how amazing it is on an actual body and how beautifully it moves.

This is an incredible dress. I love its bareness at the top and the bandeau feeling bust that leaves that little keyhole of bare skin at the center. It has a very sexy feel to it in a very easy way yet, as with all his work, it still manages to feel elegant and refined. It is a dress that really comes alive on the body. It is very light and easy to wear because of the crepe silk chiffon it is made out of. It is cut to perfectly fit and skim over the body. The silk is completely covered in a dot pattern and I love how he has mixed two different size dots. This brilliantly plays on the different parts of the dress. The main body of the dress uses a tiny white dot so that the red seems to be more prominent and then the bust and ruffle around the skirt have a larger white dot that really give impact. The bodice is cut across the front and ties at the center with the little opening under the tie. The larger dot fabric continues all the way around the back so you get the sense of it being its own little bandeau top. It skims over you from there and there is no seam at the waist  to break the eye. The vertical seaming and slight bias cut to the silk simply curves it in and creates shape. Under that the skirt flows to the floor and gradually widens out as it nears the hem. It is wider then it feels standing still and I love the way that the skirt cut a little longer at the back to give the feel of a slight train there. Starting at around the hips is a ruffle that is set on a curve. As this wraps around you it dips down low at the back to create the bottom skirt there. The ruffle is made out of a single layer of the silk chiffon. This allows it to really pick up the air as you walk or move and creates a pretty movement around you. It is made out of the same larger white dot silk and this perfectly picks up on the fabric used for bodice. The use of this crepe silk chiffon throughout keeps the dress wonderfully light. It is a beautiful example of Mr Valentino's work. Excellent condition

Fully lined in a red silk crepe and closes with a hidden set side zipper on the exterior and a second zipper on the boned inner corset. The front ties into place and can be adjusted for bust size. Tagged a vintage Valentino 6

Bust: 16" across and the front ties so can be adjusted for cup size
Seam under the bust: 13.5" flat across from side seam to side seam
Inner waist: 13" flat across from side seam to side seam
Hips: 17.5-18" flat across from side seam to side seam
Length: 52" from top of bodice to front hem, 58" to back hem

Modern Sizing Equivalent: XS-SML

Item# DD4428

Reference Photos/Video: Spring 2002 Valentino Collection, Look 79.

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 stunning dress and shows the softer, more romantic side of Lanvin from this time period. This would have been designed by Jules-Francois Crahay, who headed the Lanvin ateliers from 1964-1984. In the book Lanvin by Rizzoli, that has a lovely forward from Alber Elbaz, it is noted that the Spring 1984 was Crahay's last RTW collection for the label before his retirement. Crahay's time at the Lanvin label is one of my personal favourite periods for the house and I think it is so special to have a documented piece from his last RTW collection. Having the runway photos makes it that much more special since you can really see how great this one is on the body.

The dress is made from a beautiful hand loomed red linen. The linen gives it a stunning texture and the depths of colour that is achieved by using linen is fantastic. It has been lined in a black silk and from the back this gives it that wonderful contrast that you see. From the front the dress is this beautifully simple and romantic feeling dress. The sleeve are softly gathered into the shoulders and they are cut wide and straight to just above the elbow. The bodice is squared off at the front and it is cut to skim over you to the waist. The cut through the waist area is loose and easy and depending on how tight you tie the back it can sit more loose and easy or with a bit more shape. The skirt is set into the waist in a series of tiny soft gathers. This picks up beautifully on the shoulders and adds a little volume around the hips and through the skirt. I love the pockets hidden along each hip. They really add to the easy feeling that the dress has. The skirt has tons of fabric in it. When you stand straight you don't really realize how much fabric has been used but when you move or sit it really flows around you beautifully. The back is almost shocking with the surprise of it when you turn around. He has scooped the waist down to expose the very lower back and then it is open above that and held in place by three ties. The linen extends out on each side of that scooped back in wide ties and then each tie is a combination of the red linen on the top and the black silk underneath. When you ties these into bows you get this fantastic combination of red, black and your bare skin peeking out between it all. It is a fantastically surprising dress that is sexy and easy at the same time. I love it. Excellent condition

Fully lined in a black silk satin through the top and black silk through the skirt. It close with a the hidden zipper on the inner lining at the low back. The back ties into place above that. There is a slightly darkened spot on the front skirt that is very minor. The dress is numbered under one folded edge of the tag. I did not take a photo of it because it's really hard to get to but if you twist the edge up you can see it.

Sleeves: 12.5" and 14" around at the widest point
Shoulders: 15"
Bust: to 18.5" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Hips: open
Bodice: 15.5" from top of bodice to waist
Skirt: 43" from waist to front hem, 47" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD4429

Reference Photos/Video: (1) Spring 1984 Lanvin 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.

This stunning dress is the twin of the one that Jessica Chastain wore on the red carpet for the 2013 SAG awards. She looked incredible in it and I love that we have reference photos of her so you can see how spectacular this dress is on the body. The dress is from Sarah's Pre-Fall 2013 collection. In the presentation Sarah showed it belted which you could easily emulate but I do love how Jessica wore it on the red carpet without. Sarah Burton has just recently announced her departure from the McQueen label and it is a joy to have such a well documented piece of her work with an amazing red carpet provenance behind it. The dress is stunning.

The dress is made out of a deep coral red silk and is cut with an almost sculptural line. The bodice is strapless and it is shaped to curve over the body to create an hour-glass shape. There are added panels of a silk tulle added to the bodice that have been dyed to the exact same colour. These sit underneath silk panels that are crossed and shaped over the bust to give the dress a bit of an Old Hollywood 1950s feel. It curves around the bust and then vertical seams angle down to the seam around the waist at the front. The waist is nipped in and then more seams angle back out and around the hips to create a very classic and signature McQueen type of seaming. The hips are rounded and slightly exaggerated for shape. At the back of the bodice there is another inset panel whose seams continue down the full length of the dress. I love the gold toned exposed zipper at the back that almost feels like a piece of jewelry. The dress skims over the hips and then flares out as it reaches the hem for one final beautiful curve. There is extra fabric set into the back and sides of the skirt and these flare out to create a stunning shape. The back skirt is cut a touch longer then the front skirt for a slight trained effect. No matter what angle you see this dress from there is an interesting angle, curve or flare to show all of your curves off beautifully. It is gorgeous. Excellent condition with a teeny note below 

Fully lined in a matching coral silk and closes with a back set zipper. Built in inner corset that is lightly boned and cupped. I see a tiny pinhead faded spot near the back zipper and if I am being picky a touch of grubbiness along the edge of the hem here and there. Tagged a McQueen 46

Bust: 17-17.5" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Hips: 19.5" flat across from side seam to side seam
Bodice: 9.5" from top of the bodice to waist
Skirt" 45" from the waist to front hem and 47.5" to the back hem.

Modern Sizing Equivalent: SML-MED

Item# DD4430

Reference Photos/Video: (1) Pre-Fall 2013 Alexander McQueen. Model Esther Heesch.  /  (2) Jessica Chastain in McQueen at the 2013 SAG 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 is an incredible Haute Couture dress that came to me from the niece of the original couture client and is unlabeled. In our hunt for more information on it we found the runway photos from the 1979 Yves Saint Laurent dress and you instantly see that it is its twin in all ways except for the length. It is always the prerogative of the couture client to change some elements of the dress to suit their needs and in this case, this woman attended many functions where a full length dress was required. She frequented the Yves Saint Laurent, Christian Dior, Givenchy and Ungaro ateliers. She often removed the labels to avoid customs and it is fantastic to be able to verify which designer and collection this one is from as many of the records she kept were lost. The dress is completely made by hand to Haute Couture standards and it is incredible. I love having the runway photos so that you can see just how amazing it is in the body.

The dress is made from a crisp black silk and this fabric choice allows it to hold those beautiful lines that you see. It's beautiful shape is a testament to the level of workmanship that you only see in true couture pieces. At the front the neckline dips into a V and the dress is vertically seamed to follow the curves of the body. The sleeves are amazing. Each is cut on a curve to follow the shape of the arm in the traditional manner of making a sleeve. They are set into the shoulders with a beautiful series of soft pleats so that you get a bit of volume at the shoulder. They puff out slightly around the upper arm and then narrow down at their ends. At the back the dress scoops low to give you a bare expanse of skin. The back has a low set seam under the open scoop and this allows the top of the back skirt to lift slightly off and away from the body. A tiny detail that feels very sensual on the body. That same seam curves around the hips and angles up towards the waist at the front and then the skirt at the front is cut on a stunning curve that widens out as it reaches the hem. The back is fuller and it also falls a touch longer to give it the feel of it sweeping out behind you. Built in underneath the skirt is a ruffled black silk net underskirt and when you move or sit you see just a peek of the ruffle around the inner hem. Built inside the top of the inner skirt are layers of silk net that help to hold the fullness around the hips. The dress is detailed with hand applied sequins to form little varying sized circles that run over the entire bodice, the waist and the top part of the skirt. Two types of sequins have been used, tiny silver sequins one and others that are an iridescent pale blue. The blue ones catch the light and range in colour from silver to an ice blue. It is incredible. Mixed into that are some circles that are made from little glass crystal beads. All are hand applied and the entire dress is completely hand made to couture standards. I have taken some detail shots of the interior seams for you to see the fine Haute Couture workmanship inside. It is an incredible piece and just beautifully made. Excellent condition with a small note below

The bodice is unlined and the skirt is fully lined with a built in underskirt in a black silk net and taffeta. Built in panniers around the hip area that I have photoed. It closes with a hand set back zipper and the skirt snaps into place with silk covered snaps over that. Hidden set zippers at each wrist. Hand finished throughout. There is the occasional sequin or crystal missing on the dots here and there and I have photoed one area for you to see as an example. Please see the last detail photo for that. Unlabeled. Made to Haute Couture standards with a tremendous amount of detail put into its construction.

Sleeves: 24"
Slightly inset shoulders: 14"
Bust: to 18" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: open
Length: 58" from top of shoulder to front hem, 60" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD3677

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

Harvey Berin opened his self-named label in 1921 and by the 1940s his label was considered to be a leader in American fashion. The collections were designed by Karen Stark, his wife's sister, and it is said that all designs had to meet with Berin's approval before going into production. The dresses were made with high end finishes and were often based on the Parisian couture designs of the season. By 1952 Stark had won a Coty award for her work at the label. This dress is a beautiful example of the work she was doing during this time period.

This is a gorgeous dress that has that classic feel of its time period. It combines a stark black and white with incredible iridescent sparkling beads for even more glamour. The dress completely covers you and has a beautifully classic, feminine, elegant feel to it. The bodice is made out of a black velvet and it is meant to skim over you. The sleeves are long with a little notch at each cuff. The neckline is high and detailed with a wide band of tightly spaced glittering beads. The beads are tightly spaced directly next to each other and circle the entire neckline. A band of them runs straight down the center of the front to the waist seam. This adds an incredible sparkle to the top of the dress as the beads catch the light from every angle. The waist is seamed and the dress comes with its original matching black velvet buckle belt that allows you to cinch the waist in for an hourglass shape. From there the skirt falls to the floor and widens out as it nears the hem. The skirt is made out of a rich ivory silk that  has a nice weight to it. There are pockets hidden along each hip and it is just incredibly graceful. Excellent condition with a small note below.

The top is fully lined in a black silk  and the skirt is lined in ivory. Pockets along each hip. Original matching belt. There is an attached inner netted half length underskirt that adds volume through the hips. I see a couple of tiny pin head size storage marks on the skirt but it otherwise looks unworn. Please see the photo after the label shot

Sleeves: 22.5"
Shoulders: 15"
Bust: 17.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 15.5" from top of shoulder to waist
Skirt: 40" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4424

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 60 of the Spring 2017 collection and it was a part of the closing series of evening looks for the show. This was the first solo show for Pierpaolo Piccioli which makes it a significant collection in the history of the label. I also think it is a dress where you can really start to see his signature look for the house in terms of volume and use of shape. The show was a huge success. On the runway the dress was shown without any lining so that you could clearly see the body and bare legs underneath the tulle. For retail when it was produced, it was sold with a nude lining added. If you preferred the look of the runway it would be easy to have your seamstress remove the nude lining and set it aside to keep in case you wish to add it in again in the future. Whether you choose to wear it as it was produced for the shops, or go for the full on runway look, it is an absolutely stunningly beautiful dress and shows the near couture quality that even ready-to-wear has with the modern Valentina label.

I love this dress. It is basically an elaborate tulle piece that sits over an inner nude silk lining. This gives the illusion that you are completely bare underneath while still keeping the dress easily wearable. The sleeves are incredibly full and voluminous. Each is set wide into the top of the arm and poufs out above their button cuffs. I love the little embroidered detailing that sits on the outside of each cuff. The bodice is meant to skim over you and the neck is high. The front is covered with embroidered medallions that contrast off the nude lining underneath. The waist is detailed with ruching and seaming. It is gathered in and up towards the bodice to detail the waist area. The waist is cut wide and generous and the entire dress falls and widens out as it nears the floor. The skirt has yards and yards of tulle set in two separate layers over the inner nude lining. Another layer of tulle is attached to the actual lining so you get this wonderful texture and depth from all the layers stacked on top of each other. The volume of this dress is fantastic. It also makes it an easy dress to wear because it just slips over you and almost has a touch of a caftan feel once it is on the body. The back has a row of tightly spaced buttons down the back and then more of the embroidery work around them. That ruching from the front of the waist comes around and increases in width for added detail at the back. It is incredibly beautiful and the pictures do not convey how light and airy and wonderful it is in person. It feels like wearing a magical cloud of Valentino tulle. Pierpaulo is incredibly gifted and this dress really shows the extent of his talent. It was one of my favourite dresses at the show. It appears to have been worn very little if at all. Excellent condition

Fully lined in a nude silk and closes at the back with silk covered buttons  and a hidden side zipper under that. Each cuff buttons to close. It appears to have been worn very little if at all. Tagged a modern Valentino 46

Sleeves: 27"
Slightly inset shoulders: 15"
Bust: to 20" flat across from side seam to side seam
Waist: to 18" flat across from side seam to side seam
Hips: open
Bodice: 16" from top of bodice to waist
Skirt: 42" from waist to hem

Modern Sizing Equivalent: MED-LRG

Item# DD4425

Reference Photos/Video: (1-3) Spring 2017 Valentino Collection, Look 60. Model Lexi Boling.  /  (4) Net-a-porter photos.

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 Blass launched his label in 1970 when he bought out the Maurice Rentner label and re-launched it under his own name. Blass was arguably one of the most famous of  the American designers. His forte was the ability to mix simple styles with luxurious materials and his evening wear in particular seemed to have of always being flattering on the body. This is a gorgeous example of his work into the 1980s. The teak silk is even better in person and it is just beautiful.

The fabric of this dress is stunning. It almost has a sueded feel to it and it is all cut on the bias. It falls from the shoulders in a stunning sheath down the body and widens out as it nears the hem. The front is cut in a way that feels more simple and straight and then at the back is where you have a lot of drama. It is sleeveless and the neck is cut straight across at the front. Each shoulder has a intricate detailed art deco feeling spray of beads across the top of the shoulder. The beads are an iridescent copper gold and they pick the light up wonderfully. The back is exceptional and when you walk away or turn in this dress no one is going to forget you. The silk is gathered in around the top of the shoulders and then drapes down past the waist. He did not add a waist seam to the front of the dress but at the back he did put on in to both bring it in and give the silk a place to be gathered into to. This also gives you more shape as well. The fabric drapes down from the shoulders and around the sides a bit and then is gathered back into that low center point of the back. This leaves the entire back bare and exposed. This unexpected flash of skin is seriously sexy and the drama of that draping is fantastic. The fabric is also gathered more at the back of the skirt so that you have a bit of gorgeous movement happening when you move. It is really a stunning piece. Excellent condition

The dress is lined through the bodice in the same fabric and the skirt is unlined. It closes at the back with an overlapping flap of silk that hooks into place. Hand finishes throughout. The easy cut should allow it to fit a range of sizes

Bust: 17-19" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Hips: to 24" flat across from side seam to side seam
Length: 56" from top of shoulder to front hem, 59" to the back hem

Modern Sizing Equivalent: SML-LRG

Item# DD4423

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 collection marked Dior's 60th birthday celebration. Sting was in the audience and his song 'Englishman in New York' set the theme. The show also marked John Galiano's tenth year with the label and he celebrated that by creating pieces based on some of his signature looks through the past decade. The result was a collection that was surprisingly wearable for a Galliano runway collection. It was filled with beautiful, pretty things that women instantly wanted in their closets. The near twin of this dress was worn by Caroline Trentini for Look 50 of the show. I have seeing this dress shown in other colours then what was presented on the runway and rarely in the perfect condition that this dress is in. I am very pleased to have such an exceptional example of his work and it's always extra special when you have a such a close piece to the runway piece in the shop. You just need to see the runway reference photos and video to see how amazing this one is.

The dress is made out of the deepest possible blue silk chiffon that has a slight bit of texture to it. It is completely cut on the bias which of course is one of his signatures that we all love. The dress falls from one shoulder and then drapes down and over the body to the floor. It is very beautiful. The signature bias cut that he often did allows the dress to skim and drape over you so that is shows every curve but is not overly fitted. The seaming is highly reminiscent of the work you see from the twenties and thirties which became another of John's signatures. The fabric has been pieced together with low dropped angled panels all through that skirt especially to create the widening of the lower skirt that you see. The dress is suspended from  that one single shoulder panel that curve over your shoulder and drapes across the bus to the other side. There's a large half bow and two wide panels that fall over each side of the shoulder. All of this has an intricate beading in black jet beads and sequins and these catch the light beautifully. The bodice under that extraordinary detailing is simple and soft with a slightly dropped waist seam. It glides over the body and then flares out as it reaches the hem. The widening of the hem is created by the way angled silk chiffon panels are inset all the way around. It is an incredible feat of patterning. The skirt falls longer at the back for a bit of a sweeping trained feel. There is an incredible amount of fabric through the skirt which gives you so much movement when you walk. It's stunning. His signature row of tightly spaced buttons run up one side. The dress is even better in person and on the body as the static photos cannot fully convey how a bias cut dress moves. They only truly come to life when worn. It is an incredible example of his work and looks to have been worn very little if at all. Excellent condition

Fully lined in the same deep blue silk chiffon and closes at the side with a series of silk covered buttons. Tagged a FR38, GB8, IT40, US4. The bias cut should allow it to fit a range of sizes

Bust: 16-17" flat across from side seam to side seam
Waist: 13-15" flat across from side seam to side seam
Hips: 18-20" flat across from side seam to side seam
Length: 60" from top of shoulder to front hem, 68" to the back hem

Modern Sizing Equivalent: XS-MED

Item# DD4422

Reference Photos/Video: Spring 2008 Christian Dior Runway, Look 50. Model Caroline Trentini.

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 always on the look out for this style of dress by Halston. It is perhaps the most iconic of all of the Halston silhouettes and in 2016 a red version of this dress entered modern day fashion history when Kate Moss wore its twin on the red carpet at the 2016 Cannes Film Festival. We have had Martha Hunt wear a white one version that she sourced from us to Cannes. She landed on several Best Dressed lists as a result. These were made in a variety of colours and this one is a gorgeous deep teal colour that I have not had before.

Halston was a master at this cut. There is a certain sexiness caused by the illusion of having the entire dress suspended by one shoulder. It gives the sense that the entire dress could drop in a puddle around you. It is constructed from two attached layers. The inner dress skims over the body in a long sheath. The inner part of the dress has a high slit that travels up the side of the leg opposite to the draped side. So when you walk or sit you get a flash of leg. Attached to that inner sheath lies a draped panel of the same nylon jersey that is suspended from the shoulder. This falls from that shoulder and drapes down and over the front and the back of the dress so that the jersey cascades loosely down and over the inner layer for the ultimate Grecian goddess feel. This is a classic dress by Halston that is perfect for traveling as it is wash and wear and so easy to style. A quick change of shoe takes it day to night in a snap. It looks to have been worn very little if at all. I love the teal of it. It is just so pretty. Excellent condition

The dress slips on to wear with no closures. These will fit a variety of sizes since they are not cut to be super fitted and the jersey does have some stretch.

Bust: to 20" flat across from side seam to side seam
Waist: to 21" flat across from side seam to side seam
Hip: to 23" flat across from side seam to side seam
Length: 56" from top ff shoulder to longest point of hem
Slit: 26" from hem up

Modern Sizing Equivalent: SML-LRG

Item# DD4421

Reference Photo: (1-2) Kate Moss in Vintage Halston at the 2016 Cannes Film Festival.  /  (3) Karen Bjornsen, Alva Chinn, Connie Cook and Pat Cleveland in Halston Dresses, photographed by by Harry Benson, 1978. / (4) Martha Hunt wearing this dress in Cannes, 2019.  /  (5) Martha Hunt on Harper's Bazaar Australia Best Dressed List. /  (6-7) Cherie, Owner of Shrimpton Couture.

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

Todd Oldham showed his first collection in 1981 and officially launched his label in 1989. In 1991 he won the Perry Ellis Award for New Fashion Talent. By 1995 when the twin of this dress was shown on the runway and worn by Brandi Quinones. At thois point in his fashion career he was the darling of the media, models, and everyone who anyone wore his clothing. His shows were extravagant and full of the reigning supermodels and his clothes beautiful. Nothign was being produced in great quantities and the more extravagant dresses are extremely hard to find. This is a rare piece and the twin of the runway one. It is exceptional

This is the most unusual dresses I have ever had in the shop when it comes to the fabric that it is made out of. The entire dress is made out of to ribbons. which is unusual in itself and speaks to his creativity. One ribbon is a more metallic gold lame that has a true gold feel to it, and then the other ribbon used is a more muted almost matte, deeper gold. These been basketball been to create the top layer of the dress. This back-and-forth between the two and a check pattern has this incredible way of catching the light and making the entire dress feel like liquid gold. The straps or made out of the more muted ribbon and then he has three stripes hanging from the base of the front. I have left them hanging down for these photos but you can see on the runway that they were tied behind the models backs. The draft itself is meant to skim over the body and has an hourglass shape built into it through the vertical seaming on it. It's the front and back and then flies over the body from the bus to the hips. Under that the skirt falls to the floor and there is a defined flareout at the bottom skirts that hold and gives the shape that you see. There's a slight bit more fabric worked into the back panel so you get this gorgeous little bit of volume at the back as well. It is exceptional dress on and it is an even more exceptional piece of fashion history. Excellent condition

The dress is fully lined in a gold silk satin and closes at the back with a hidden set zipper. I see the tiniest little bit of wear to the back past of the straps near the base. It looks like they were pinned in place on someone at some point and you can see a touch of the pin marks. perhaps a touch of scuffing to a ribbon here and there but I am being pretty picky. It otherwise appears to have been worn very little if at all. It is amazing. There is no give in the fabric

Bust: to 18" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 59" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4427

Reference Photos/Video: Fall 1995 Todd Oldham Runway. Model: Brandi Quinones.

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 Haute Couture dress that came to me from the niece of the original couture client, In our hunt for more information on it we found the runway photos from the 1982 Givenchy Haute Couture presentations and you instantly see that it is its twin in all ways. I love having the runway photos so that you can see just how amazing it is in the body. This dress was made by hand in the atelier of Ady Couture who was based in Lausanne Switzerland. Ady herself was a couture trained seamstress and headed a team who had full permission of the Haute Couture houses she worked with to make the designs they showed in Paris for clients based in Switzerland and the surrounding areas. She would purchase the couture fabrics from the couture houses along with the patterns and then make the actual dresses in her atelier. This arrangement with the couture houses was a way to work around customs during this time period and do fittings for clients unable to travel to Paris. So far we have verified that she had this arrangement with Yves Saint Laurent, Christian Dior, Givenchy and Ungaro. There may have been others but those are the four labels we have documentation on from the runway.

The dress is made from a deep copper gold silk taffeta and this fabric choice allows it to hold those stunning lines and volume that you see. It is absolutely beautiful and a testament to the level of design that you only see in couture pieces. The colour of the silk is even better in person. I have managed to almost capture it in these photos but in person it is even richer feeling then what you see here. At the front the neckline is set in a simple high scoop. The bodice is cut to skim over your curves and is simple in cut. The sleeves are incredible. Each one is set on a curve to follow the shape of the arm in the traditional manner of dressmaking. They are set into the shoulders with a beautiful series of soft pleats so that you get a bit of volume at the shoulder. They puff out slightly around the upper arm and then narrow down at their ends. The waist is seamed and the skirt is gathered all the way around the waist in a series of soft pleats. These puff out from the waist slightly and this little couture trick gives the illusion that the waist is smaller then it is. On the runway it was shown with a black velvet bow and I have added one to emulate that same look. The skirt is one of the best skirts I have seen both from a design point of view and by its level of construction. It is made into two attached sections. The top comes out from the pleats all around the waist and it poufs out around you. A seam brings the skirt in and then the lower part of the skirt falls to the floor from there. That second tier has many yards of silk in it so that it flares out as it reached the hem. Between the two sections is a wide velvet ribbon that wraps around the seam and ties into a bow at the side. Which beautifully picks up on the bow around the waist. All of the volume and shape that you see is created through the way it is cut and the fabric choice. The skirt does not have extensive underskirts to shape it. The silk of the skirts are lined in a silk organza to help give support but it is really the genius of the cut itself that creates the shape. An elaborate and intricate floral design runs across the front and back of the bodice and down each sleeve. Hand done embroidery work is combined with tiny black sequins and hand applied beads. It is some of the finest hand work I have seen. Inside the dress is completely finished to couture standards with every seam finished by hand. I have taken some detail shots for you to see the fine workmanship inside. It is an incredible piece and absolutely beautifully made. It appears to have been worn very little if at all. Excellent condition 

The bodice is fully lined in a matching gold toned silk and the skirt is fully lined with a slightly gold tinged silk organza. It closes with a hand placed back zipper and the skirt snaps into place with silk covered snaps over that. Hidden set zippers at each wrist. Hand finished throughout. The velvet ribbon out is not original to the piece but will be included. It appears to have been worn very little if at all. Made to Haute Couture standards with a tremendous amount of detail put into its construction. It is a slightly softer gold copper in person then how it photoed.

Sleeves: 26"
Slightly inset shoulders: 13.5"
Bust: to 19" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: open
Bodice: 15.5" from shoulder to waist
Length: 42" from waist to front hem, 45" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD3685

Reference Photos: Fall 1982 Givenchy Couture 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.

This dress is instantly recognizable as having been designed by Bob Mackie. He was best known for dressing Cher and for his signature glamorous looks. The best of his work are the pieces like this that are dripping with bead work. Modern girls are obsessed with his vintage pieces. He worked for both Edith Head and Jean Louis prior to working as a costume designer and co-designing with Ray Aghayan. That led to his incredible journey in designing for stars like Cher and Diana Ross for many years. In many ways his creations defined their careers and that era of glamour. His work always has that touch of the best of the bygone glamor of Hollywood.

This is an amazing dress that is extremely flattering even though you are covered completely. The base of the dress is made of a soft peach silk and then onto that is the vertical bands of detailing that completely cover the dress. That design that you see is made up of a combination of muted gold and clear glass tube beads that have been set in vertical rows over the entire dress. There is a more intricate pattern over that on one shoulder, around the collar and down the sleeves that is made up of tinier tube beads, muted gold sequins and rhinestones. And then scattered within all of that are little highlights done in a silver sequin with a tiny clear bead at their centers. This ultra glamorous combination gives the dress an extra layer of texture and glamour as every inch of it catches the light and sparkles. The dress has a decent weight to it when it is off of the body because of that extensive bead-work, and yet once on the body it drapes in a way that it is balanced and not at all unwieldy. The necklace is high and the collar is extremely detailed. I love the detailing on the outside of each sleeve. The waist is brought in just a touch to create shape and that curved down and angled seam there that is detailed with more rhinestones and beads helps to really lengthen the feel of the dress around you. The skirt call store from there and slightly widens out as it nearest the ham. It's a long slim shape combined with all those vertical rows of bead work make you look tall and lean once you are in the dress. Excellent condition.

Lined through the body matching peach chiffon and the sleeves are unlined. It closes with a back zipper and each sleeve has a zipper at its end. Padding in each shoulder. A touch more pastel feeling in person. Tagged a vintage Bob Mackie 6

Sleeves: 22"
Shoulders: 15"
Bust: 16.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 57" from neck to longest point of the back hem

Modern Sizing Equivalent: XS-SML

Item# DD4426

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

I have had a couple of Harold Levine pieces in the shop in the past and they are always pieces that seem to have a little extra glamour to them. This amazing little dress is no exception. It is a stark black and white that has one side completely done in the white and the other completely done in black. The seam between the two literally runs down the center of the dress and this sharp contrast makes it a huge statement piece. The dress is made out of a rayon crepe and the fabric is easy to wear and drapes well. It comes down into a V at the front and then wraps around the back of the neck. The size are plunged into Vs as well and slightly wrap over each other at the base of the sides. This all serves to further emphasizes that great contrast of the two stark colors. The waist is seamed and I tied a black ribbon around so you could see it belted. I will include the ribbon but you could add any belt that you wish. The skirt flares out a bit as it reaches the hem and then it is finished with that incredible wide band of dyed ostrich feathers. In keeping with the spirit of the dress, half of the feathers are white and the other half are black. It is an incredibly fun and unusual piece and is one of those things you will only ever find in vintage. Excellent condition with one tiny note below

Unlined and slips on to wear with hidden snap closures at the front. The ribbon belt is not original to the dress but will be included. An inner waistband hooks to close. There is one tiny dot on the seam at the back near the waist. Please see the photo after the label shot

Bust: each side of the halter top has no true side seams that will cover up to 12" flat across from side to side
Waist: to 13" flat across from side seam to side seam
Hips: to 19.5" flat across from side seam to side seam
Bodice: 15" from top of bodice to waist
Skirt: 27" from waist to actual hem and the feathers extend past that a bit

Modern Sizing Equivalent: SML-MED

Item# DD4415

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 most chic and glamorous day or cocktail dress from the Lee era of McQueen. This was a dress that would have been produced for the shops and it is absolutely gorgeous. I feel like I have seen a reference of this one on someone from that time period at some point but as of listing we have not yet found it but when we do I will send to the new owner.

This is just one of those dresses that whenever you put it on it feels perfectly feminine, lady like, and chic. It is just the perfectly appropriate dress for any occasion. The dress is made from a fine feather light silk chiffon that is black with a stark white dot print. The dots are spaced fairly close together and the print covers the entire dress to make it a statement in itself. It is cut in a halter that swoops up to the neck and then the sides plunge down and on an angle. At the front it is softly flat pleated into the neckline and this allows it blouse and open up to the waist for a pretty and easy feel. I did not belt it for these photos but you could absolutely add a belt if you wanted the waist to really have a cinched in feel. The skirt is soft and easy and the lightness of the silk chiffon lets it float around you when you move. Attached around the neck is an extremely long tie made of the same silk chiffon. This really let you change the look of the dress because you can tie it at the back and have the tie sweeping and trailing behind you. You can wrap the ties around the neck and maybe add a pin or a large flower to get a very refined feel, or tie it around the neck into a big bow like I have. The back is where you that McQueen sexuality really comes into play. It is a slit that is completely open from the base of your neck down to the waist. Because the fabric billows over the bodice this opening is only revealed as you move and turn so you get this subtle yet extremely sexy glimpse of bare skin down the middle of your back. It is fantastic. It appears to have been worn very little if at all. Excellent condition

Fully lined in a black silk and buttons to close at the nape of the neck. There is a low zipper at the back under the waist. Tagged a McQueen 44

Bust: 17-20" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Hips: open
Bodice: 18" from top of bodice to waist but will blouse over once one
Skirt: 25" from waist to hem
Neck: 17" around

Modern Sizing Equivalent: SML-MED

Item# DD4416

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 declared that for this collection 'Chanel did ancient Greece'. The audience was taken to a reproduction of a Greek ruin in Paris. Press notes for the show referenced Coco Chanel’s own 1st-century Venus statue that remains in her apartment on Rue Cambon and took reference from her contribution as costume designer to Jean Cocteau’s 1922 Antigone. It was a rare look back by Karl and key looks of the show included many versions of knits, like this one, that were finished in a pottery relief. Karl stated in the notes that 'The criteria of beauty in Ancient then Classical Greece still holds true. There have never been more beautiful representations of women. Or more beautiful columns. The entire Renaissance, in fact, was based on antiquity.' The twin of this dress walked the runway for Look 13 and I love that we have the reference photos and video for you so that you can see how fantastic this dress is on. This collection is of added note because of Karl's passing the following year making this one of his last few collections.

The dress is so easy and simple to wear. You just step into it and you tie the shoulders and go. Depending on how tight you tie them you can adjust where the bodice sits on you which is amazing. The ties are also super long so they become this design feature in themselves as they trail down your sides. The knit fabric is a light in weight with a slight stretch to it. It is part a synthetic and part paper. Which is an incredible achievement because you would never guess that it is part paper in a million years feeling it. Karl was known for his relentless innovation of fabrics and this is one of his achievements in that area. The dress has a slight texture to it and the texture highlights the print that runs over the entire dress. As stated in the show notes, the prints were all inspired from ancient pottery and the raised pattern just makes those prints stand out more. The fabric has a bit of stretch to it so it feels extremely easy on the body. Inside there is an rubber strip that runs all the way around the inside top edge of the dress to help hold it in place. It skims over your bust, waist and hips and then falls in a sleek sheath to past the knees or mid-calf depending on your height. That simple silhouette has this easy and chic feel to it while the shoulders and print give it impact. There is a small slit up one side and this lets a little extra leg show when you walk or sit. It looks to have been worn very little if at all. Excellent condition

Unlined and slips on with a hidden set zipper at the side. Tagged a Chanel 36. The fabric will stretch and the measurements below are the comfortable range laying flat

Bust: 14-18" flat across from side seam to side seam
Waist: 14-18" flat across from side seam to side seam
Hips: 18-23" flat across from side seam to side seam
Length: approx 47" from top of the shoulders to hem but you can tie and adjust the shoulders up and down as you need
Slit: 12" from hem up

Modern Sizing Equivalent: XS-MED

Item# DD4417

Reference Photos/Video: Cruise 2018 Chanel Runway, Look 13. Model Camile Hurel.

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

In the Chanel Catwalk book they note that this collection was "presented on a large scale set with no less than four cat walks - two electric blue and two bright pink - stretching to almost the length of a football field.... The collection focused on floral prints and bright colours of luminous blue, yellow, red, and green shades that would be echoed in Lagerfeld's next Couture collection. The star of the show with Chanel's trademark quilting famously used on the iconic 2.55 handbag. Here it was reinvented in a larger-scale and squarer versions, almost like a chocolate bar, and transported onto sleeveless tops, shorts, jackets, mini dresses and most strikingly, voluminous gloves with matching handbags." The twin of this chic black jersey dress was one of the star looks of the show. On the catwalk it was paired with a yellow underskirt and those big squared off quilted gloves and handbag. It is extremely easy to wear and as you can see in the runway photos it is a dress that by adding great or unusual accessories you can easily give it instant impact. I love it

The dress is so easy and simple to wear. You just slip it over your head, button the back of the neck and go. The black jersey fabric is a light in weight with a slight stretch to it. This gives it an incredible drape and ease as it glides over the body. The fabric also has a bit of stretch to it which just adds to that extremely easy feel once on the body. The neck is scooped at the front and the button at the back of the neck tops an open keyhole. It skims over your bust, waist and hips and then widens out quite a bit to the hem. There are panels inf the jersey running down each side and this adds to its movement as you move. You can see in the video the incredible movement the dress has. The front has a high slit and you can see on the runway photos how he added that pop of colour by layering the dress over an inner skirt piece. If you wear it as is without anything under it you would get more a flash of leg. There is another slit at the back and the back hem falls in points that are cut longer then the front skirt. I love how the sides are cut extra low and square. It  is incredible sexy to see this unexpected bit of skin. That simple silhouette has this easy and chic feel to it while the incredible movement the dress has gives it impact. It looks to have been worn very little if at all. Excellent condition

 Unlined and slip on to wear with a Chanel logo button over hook & eye at the back of the neck. Tagged a Chanel 40. The fabric does have stretch so I've given the comfortable range of movement below while laying flat.

Waist: 16-18" flat across from side seam to side seam
Hips: 19-22" flat across from side seam to side seam
Length: 55" from top of shoulder to shortest point of front center hem, 64" to the longest point of the back hem
Front slit: 29" from hem up

Modern Sizing Equivalent: SML-MED

Item# DD4418

Reference Photos/Video: (1-5) Spring 2000 Chanel Runway.  /  (6-7) From the book "Chanel: Catwalk".

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 stunning Dior dress from the Raf Simons era and I believe that it is the production / retail version of Look 22 that he created for the Spring 2014 Haute Couture show. I have included a photo of the couture dress from the runway here so you can see. The fabric of the two pieces are very different but the same shape is there. You can see the similarities in the cut and that high squared off cut out at the front of the skirt. I love this one with its startling flash of that pale pink silk inside the skirt. It is extremely beautiful and perfectly representative of Raf's time at the label and what his vision for Dior looked like.

This dress is just magical. It is made out of a black silk that is completely and densely covered with thousands and thousands of the tiniest black sequins. They are densely applied and spaced to butt up against each other to cover every square inch of the dress. Because they are so tiny it almost makes the dress looks like it is covered in rock crystals or something of that effect. No matter what angle you see the dress from it will catch and glint in the light. The shoulders are softly rounded and they come slightly off the top of your shoulders. The opening for your arms curves back just a touch inwards towards the dress and I love how this is all shaped. It is all very subtle but it gives you this really pretty shape at the top. From under that the dress falls in one long column. The simplicity of the cut is offset by the thousands of sequins that cover it. The skirt widens out a touch as it nears the hem. At the front you have that incredible cut out. When you lay the dress out flat you realize that this cut out is created by splitting it up one side at the front to just above the knee and then he slit it across horizontally to a point a few inches from the other side. Where most would have removed that panel Raf allowed it to simply hang down. This created this stunning ruffled effect down the one side that has incredible movement. To highlight this unusual design even more he lined the whole thing in a pale pink silk crepe. This unexpected contrast between the black sequins and pale pink is just fantastic. This was an extremely hard dress to show properly on a dress form but once on the body it is 10X better because of the movement that lower skirt creates and the way it will fall over an actual body. It is this long elegant sheath with that unexpected twist. Very very Raf. Excellent condition.

Fully lined in a pale pink silk crepe. It slips over the head to wear with a button closure at the back of the neck. It looks to have been worn very little if at all. Pockets along each hip. Original uncut length. Meant to be oversized on a smaller frame and will sit more like a sheath on a larger. Tagged a Dior FR36, GB8, IT40, US4

Waist: to 18" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 65" from top of bodice to waist
Front cut out: 31" from the hem up

Modern Sizing equivalent: SML-MED

Item# DD4419

Reference Photo: Spring 2014 Christian Dior Couture Collection, Look 22. Model Georgia Taylor.

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 Cruise 2000 show was held as a full scale show Paris and it is significant because it is the first Chanel cruise show that was presented as a full and independent show. Prior to this show, the cruise collection was always shown in a more intimate setting at the Rue Cambon salons or the place du marche St Honore. Women's Wear Daily said it was 'fresh breezy and charming' and pieces shown were relaxed and easy. Karl re-invented the classic Chanel dress to be worn in a easier jet-set kind of way. This dress with its added sequins is a stunning example of that.

This dress is easy to wear and yet still feels elegant and chic at the same time. The fabric is a mix of silk and a synthetic and it is purposely made to have a heavy texture that runs through the fabric. Adding the synthetic in with the silk is what helps to keep the texture in a more permanent way and really gives it the body that you see. The fabric is extremely light and easy so despite its more evening feel with the sequins it is as light as a day dress would be. Wide straps curve up and over each shoulder and then extend over the dress the full length to the hem. The bodice is cut straight across at the front and then it skims over bust and is easy through the waist. Long attached ties extended from those vertical panels so you can cinch in the shape of the waist. It widens out from there over the hips and is quite full by the time it reaches the hem. The back is cut slightly longer then the front and that combined with the fullness of the skirt gives it incredible movement around you when you move. At the back he has left the space between the back straps completely bare for a bit of skin to show. The perfect finishing detail are those tiny square sequins that cover the entire length of each of the vertical panels. These cover the panels from the back at the waist, over the shoulders and all the way down to the front. They catch the light from every angle and add yet another stunning dimension to the dress. It is so gorgeous and easy to wear. Excellent condition.

Lined in the same fabric through the bust and then the rest of the dress is unlined. It closes at the back with a hidden set zipper along an offset seam. Tagged a Chanel 40. Perhaps the occasional sequin missing but no bare areas. It appears to I've been worn very little if at all

Bust: 17" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam and you cinch it in with the attached ties
Hips: to 23" flat across from side seam to side seam
Length: 61" from top of the shoulder too the front hem, 63" to the beck hem

Modern Sizing Equivalent: SML-MED

Item# DD4420

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

James Galanos was known as the designer that could rival the French in terms of construction and design. He launched his atelier in 1951 and though he was never a designer that was formally acknowledged as being a true Haute Couturier, he certainly produced clothing that had all of the hallmarks that define couture. This attention to detail and cut gave him the status as being known as one of the 'American Couturiers'. This is a gorgeous little dress that you can wear a couple of different ways which makes it a little extra versatile.

This dress is gorgeous. It closes at the top of the neck with a single hook and then wraps and hooks into place around the waist and that it is. It feels so sensual once on because of this. The fabric is almost weightless and this feeling of it just being hooked and wrapped around you is very sensual. very unusual and I had a hard time deciding how to best have it sit on the dress form. It sits beautifully when worn as a one shoulder dress but you can also turn it around a bit and wear it as more of a halter with the back left more bare and open. I love that it has this little bit of extra versatility. It is made of an incredible five layers of silk chiffon. The top layer is printed with a gorgeous floral print done in greens, corals and deep yellows. Under that top layer are four more layers made out of a solid green silk chiffon. All of the edges are hand rolled. These added layers keep the dress from being too transparent when on. At the same time the silk chiffon is of such a high quality that the dress is as a feather. The neckline is finished with a ruffle of the chiffon layers for pretty detail and a touch of romance. The skirt wraps over itself and where it overlaps there is a slit that only shows when you walk or sit. I added a green velvet ribbon around the waist which I will include to show you how pretty it is with something to cinch in the waist a bit. It is gorgeous. Excellent condition

Fully lined in the four layers of green silk as described above. Hand finished throughout. It wraps and hooks to close. Elastic through the edge of the halter top. Inner tag that defies the front. Teeny bit if fading along an edge here and there but otherwise looks unworn 

Bust: variable because of the wrap
Waist: 13.5" flat across from side seam to side seam and you could adjust the inner hooks up or down as needed
Hips: variable because of the wrap
Bust: approx 18" from shoulder to waist but meant to drape a bit
Skirt: 45" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3398

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

Pauline Trigere launched her label in 1942. She was from Paris and moved to the US in 1937. That early French influence showed throughout her career. In 1949 she was awarded her first Coty award. She won it again in both 1951 and 1959. The 1959 win coincided with being inducted into the Coty Fashion Hall of Fame. She was a pioneer in the use of cottons and wool for evening and her work with silks is wonderful. In 1961 she made headlines for being the first major fashion house to use an African American model. This is a stunning example of her work from the sixties and it is gorgeous.

This dress is just fantastic and so easy to wear. The colours on it are brilliant and mixes brilliant tropical red, green, pinks and yellow on a black base. The print has those wonderful giant flowers that are scattered over the dress and follow the beautiful drape of the caftan.  The effect that those vivid colours have combined with the drape and flow of the silk is fantastic. I love it. The neck is a simple deep V for a little bit of skin. The sides are closed along the very outer seam so that it is very loose and easy as it falls over the body. The sides are cut to drape outwards to help make room for your arms and there is a defined cuff that your slip your hand through. The cuffs button to close and there are two glittering crystal buttons on each one. Having the defined arms gives it a bit of shape around you without effecting the fullness of the caftan. The fabric is caught up and under those cuffs so from the side you get this gorgeous draping affect. The back is full with  tons of volume. When you walk you get this wonderful billowing effect around you that that is fantastic. The quality of silk is wonderful and it's like wearing a giant scarf. It is as light as a feather. The dress appears to have been worn very little if at all. Excellent condition

Unlined and  slips on to wear. Each cuff buttons to close. Its open cut should allow it to fit a full range of sizes. There is a tiny bit of chipping to the edges of the buttons but I am being pretty picky

Open through the body
Length: approx 50" from neck to front hem and approx 56" to the back hem

Modern Sizing Equivalent: OSFA

Item# DD4410

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

This dress is just exceptional. Its twin walked the runway that season and we found the barest second of it on the runway as the model walked back down the catwalk. We have included that little bit of film along with a couple of stills taken from the clip for you to see. They are not the best photos ever but we were still very happy to have confirmation that the twin of this one was indeed a runway piece. We also included an editorial shot from Marie Claire that season that shows a different piece from the show in the same fabric. This fabric in a variety of different colour ways was integral to the show and there was a an entire section of the show devoted to them. The dress is gorgeous and its so very rare to find these more exceptional YSL pieces anymore.

The dress is made from a feather light cotton voile that that has enough weight and structure to it to perfectly fall into the line that Yves desired it to have. The fabric has just a touch of transparency to it but at the same time the print and the way it wraps around you covers everything and perfectly the transparency feels like more of a suggestion of sensuality. I love the bold use of all those brilliant colors that covers the entire dress. The print is a stunning abstract and it is just a piece of art in itself. There is a soft strap that curves over one shoulder on an angle from the other side. Inside the bust there is a soft bodice piece built in that has a bit of boning for shape. This zips and hooks into place to hold the dress in place on you. The outer where is gathered in under the strap and then it falls over you to the floor. Part of the fabric at the waist wraps around and snaps in the place and this gives just a suggestion of shape there. The shape is soft as it falls over you and meant to have a bit if a sarong feel. It is cut to skim over the body loose and easy with the only fitted place being that inner built in bodice. The skirt wraps over itself and part of it is longer then the other. This does two things. First, when you walk or sit that opening will open a bit to show some leg and second it allows the skirt to the air and billow around you when you walk. I love that way it drapes around you at the top. It is fantastic on the body and really showcases his genius at both print and cut. It appears to have been worn very little if at all. Excellent condition

Unlined and closes in the inner bodice with a zipper and flat hook and I as described above. The waist snaps and hooks in place.  Light boning in the inner bodice. Tagged a vintage YSL 40.

Bust: to 17" flat across from side seam to side seam
Inner hooked waist: 13" flat across from side seam to side seam
Hips: variable because of the wrap
Bodice: approx 15" from top of shoulder to inner hooked waist
Length: approx 50" from top of shoulder to shortest part of from hem and approx 67" to the longest point of the back hem

Modern Sizing Equivalent: SML-MED

Item# DD4411

Reference Photos/Video: (1-4) Spring 1991 Yves Saint Laurent Runway.  /  (5) Yves Saint Laurent Editorial, Marie Claire, June 1991

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 recently saw a near twin of this dress at auction and it sold for about this price after fees and exchange. That one did not include the two jewel brooches that this one has. It is incredible to have a complete example of this one that is more a true twin to the runway. Christian Lacroix launched his Haute Couture house in 1987 and was an instant worldwide sensation with the press declaring him to be the 'King of Couture'. His collections were exotic and he mixed patterns and line in a way that had never been done before. His inspiration often came from the past and I doubt there was ever a more high glamour couturier.

This dress is very special and a stunning example of his work during this time period. It has all the signature Lacroix drama that you could ask for. It is from the original couture client who was fitted by Christian himself which makes it that much more special. My client ordered this one in a slightly different shade of silk then that dress that walked the runway and the colour of the stones in the jeweled brooches were made to match this colour. I lovee this colour more then the one on the runway as it has a touch more depth to it and is more flattering in a wider range of skin tones.

The dress is made out of an iridescent silk taffeta that has a slight colour change to it depending on how the light hits it. It can go from felling like a deep bronze colour to a more iridescent blue / purple tone. I love it. The  sleeves are long and there is a row of five silk covered buttons at each wrist. The body of the dress is cut to skim over you. It is gathered at one side at the front and here we see the first incredible brooch. The brooch is hand made from a gold toned metal with large golden topaz glass crystals mixed with brilliant blue glass stones. The neckline is cut to slant down on that same side with a fold of fabric set around you. It is cut wide across the shoulders and is meant to sit slightly off one shoulder to leave that bare expanse of skin showing. At the back the neckline dips and angles down into a deep offset V that leaves your back bare and exposed. Another huge jeweled piece sits at the base of that V. Below that a stiffened panel of silk flares out dramatically to one side to give it a half bow, half bustle feel. The skirt is cut straight and depending in your height will sit at about the knee or just above. Excellent condition with a couple of small notes below

Fully lined in a black silk organza and closes with an elaborate mix of a zipper, snaps and hooks at the back. One flaring panel loops through the other. There is fused rubber ribbon along the inner neckline to hold it in place and this has changed colour here and there. One stone is missing at the bottom of the front brooch. The brooches are removable and you can see little marks on the fabric under them where the pin has been pushed through in different places. There are a couple teeny pinhead marks on the fabric where the brooches have caught on the silk near the brooches. These are all very minor and mentioned for accuracy. Unlabeled. Sourced from the original couture client and Mr Lacroix has mentioned to me on insta that he remembers fitting her.

Sleeves: 19.5"
Bust: to 18" flat across from side seam to side seam
Waist: to 13.5" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Length: 36" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3602

Reference Photos: Fall/Winter 1990 Christian Lacroix Haute Couture 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.

Not only is this dress the twin of this dress was used for the 1992 ad campaign shot by Helmut Newton that featured the beautiful Karen Mulder, we also found the runway shots of it on a young 19 year old Tyra Banks. This one also has its original hang tag in place and on the back it has its original price of $1990, the equivalent of $4335 USD in today's dollars. Pricey then, pricey now, but a bargain as a pristine and collectable vintage piece that has never been worn. This was one of the iconic pieces of that season and I am very pleased to have found this example.

The dress is made from a crisp cotton silk mix that has just enough weight to it so that it sits perfectly once on the body, skimming over your curves in a chic and simple line. The dress perfectly represents this time period and you can see the transition from the stronger, more angular shaped of the eighties slowly moving into simpler shapes for the 1990s while still retaining the emphasis on the shoulders that the eighties had. That touch of excess from the 1980s is still there, but the shape is softening. The neckline is scooped and just deep enough to feel sexy but without being too deep not to be able to easily wear. It has a row of buttons under that that run to past the waist and this is held closed with those incredible poured glass enamel buttons. There are six in total, three red and three green and I love the heart shape they are done in. It skims over the bust waist and hips. The skirt widens out just a touch as it nears the hem. That ruffled shoulder and neckline detail is the star of the show. It follows the cut of the neckline and puffs out above the shoulders for a bit of high drama. I love that we have so many reference photos so that you can see just how amazing this dress is on the body. It still has its original hang tag and was never worn. Excellent condition

Unlined and closes down the front with the buttons as seen. Original hang tag. Tagged a vintage YSL 40

Waist: 14.5" flat across from side seam to side seam
Hips: 17.25" flat across from side seam to side seam
Length: 35" from top of shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD4409

Reference Photos/Video: (1-4) Spring 1992 Yves Saint Laurent Runway. Model: Tyra Banks.  /  (5) Spring 1992 Yves Saint Laurent Ad Campaign.

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 Great little silk shift dress that's very easy to wear. It's by Chloe and is from In-N-around early to mid 2000s. It's made out of a scarf weight silk that has a slight textured finish to it. The cut is very easy and flattering. The sleeves or long and shoulders are slightly dropped. There's a bit of yoking across the top of the shoulders at the front for a little bit of detail and the neckline is slit open with a metal pearl looking button at the top of the opening. A matching button to that sits at each cuff of the sleeves. It falls loose and easy over the bodice, waist and hips and there is a gathered ruffle partway across the front of the waist for detail. Slant pocket sit on each hip for the perfect slouchy feel and attached ties at the back allow you to leave it loose or cinch it in for more shape. The skirt is cut fairly straight with just a touch of fullness from that front ruffle detailing. This is a great every day dress that can work for the office and beyond. Excellent condition.

Fully lined in a matching silk and closes with a hidden set side zipper. The attached ties at the back cinch the waist in for shape. Button and loops at the top of the neck and on each cuff. Tagged a modern 42. It's meant to sit it slightly oversized and should fit a ranger of sizes

Sleeves: 24.5"
Slightly dropped shoulders: 17"
Bust: 19-20" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Hips: to 19.5" flat across from side seam to side seam
Length: 36" from neck to hem

Modern Sizing Equivalent:  SML-MED

Item# DD4408

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 dress is absolutely wonderful and it really showcases the higher end work that the label was capable of. This is the work of Elinor Simmons who designed for the Malcolm Starr label from the early 1960s to 1972. She excelled at the heavy embellished piece that the label was known for and this is a wonderful example of her work. It is even more amazing in person and the photos cannot convey the impact of the metallic parts and the presence of it. It is gorgeous

This stunning dress is a gorgeous example of the work being done during this time period by them. The best of this label always has lots of drama and impact and this dress has a ton of all of that. The fabric is gorgeous. A heavy dose of green tinted gold metallic thread is mixed into a pattern with the palest possible pink and a brighter more vivid pink. There is also a more golden yellow thread and the mix of all of these is fabulous. The dress is just heavy enough to hold the shape and volume you see but it is so easy to wear. The bodice skims over the torso and the neck is cut into a V at both the front and back for a little bit of skin to show. There is a border of a contrasting pattern that edges the V on both sides. This is also used to detail the cuffs and runs around the hem of the skirt. The sleeves are set on a curve to follow the shape of the arm and the waist is set a bit higher up to sit just under the bust. A piped band of the same fabric runs over the seam there to add more detail. The skirt cascades to the floor and widens out quite a bit as it nears the hem. This balances that shape of the bodice and is perfect to see. Pockets sit along the each hip. The fabric holds the shape of the dress beautifully and the entire dress has a subtle shimmer in the light. I love it. It is just a beautiful dress. Excellent condition.

Fully lined in an ivory silk and it zips to close at the back. It appears to have been worn very little if at all. Ribbon edged inner hem and hand finishes

Bust: 17-19" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Bodice: 12.5" from top of shoulder to waist
Skirt: 46" from waist to hem with 2.5" turned under

Modern Sizing Equivalent: SML-MED

Item# DD4406

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 almost certainly the work of Elinor Simmons who designed for the Malcolm Starr label from the early 1960s to 1972. She excelled at the heavy embellished piece that the label was known for and this is a wonderful example of her work. Her early pieces did not include her name on the label but the presence of the B. Altman label and it style helps to date it to her time with the label. It is even more amazing in person and the photos cannot convey the weight and presence of it.

This is a stunning dress. This is the kind of piece that you only find in vintage because they just could not make things at this level anymore. The price would be too cost prohibitive. The entire dress is made from a pale yellow silk that has an extensive design done in silver and clear beads on top. The beading is all hand set and done into little curving swirls and patterns that cover the entire dress. A panel made of the beads stacked on top of each other defines and highlights the waist with the more abstract pattern above and below. To add yet another layer of glamour some of the beads are done in little 3D medallions in and amongst the pattern for a little added detail. The dress is completely covered in the bead work from to hem and this makes the entire dress shimmer and catch the light from every angle. The cut of the dress is simple so that the beading can take center stage. The bodice is sleeveless with a scooped front. The waist nips in slightly and then the skirt falls under that and widens out just a touch as it nears the hem. There is a small slit at the side for a little kick as you walk. It is a beauty. Excellent condition

Fully lined in a the same silk crepe and it closes with a hand set back zipper. There is a teeny bit of grubbiness to the inner neck line here and there biut it is super minor and mentioned for accuracy.

Bust: 16-17" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: to 18.5" flat across from side seam to side seam
Bodice: 19" from shoulder to waist
Skirt: 39" from waist to hem including the one inch band around the waist

Modern Sizing Equivalent: XS-SML

Item# DD4407

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

This dress is from the archive of the couture house Tiziani. The Tiziani atelier was founded in 1963 by Evans Richards an American who moved to Rome to pursue his fashion dreams. Elizabeth Taylor quickly became a regular client along with Doris Duke, Gina Lollobrigida and Principessa Borghese to name a few. The label is also famous because of the fact that as a young designer Karl Lagerfeld accepted a job there. Lagerfeld worked at Tiziani from 1963 to 1969. This is from that era and is a stunning examples of Karl's early design years. My client originally bought it at an auction several years ago directly from the current owner of the archive. This is an incredible dress and an incredible piece of fashion history.

The dress is made from a very pretty pale yellow silk chiffon that is as light as air and gives the dress its incredible movement. The silk is used for the sleeves and skirt and then the bodice has been heavily and densely beaded. It is incredible to see in person and this is the level of workmanship that you were only find in a vintage piece anymore. The pattern is created in several layers. The silk base has a honeycomb design created by hand with a real metal wire sewn onto the silk. Prong set glass rhinestones are scattered over that. The bead work is set in round intricate medallions that cover the entire bodice at the front and the back. Each medallion is made from beads sequence and large shaped pailettes. In the center of each is an intricate 3-D flower and these are done in different colours of silver and pink. The bead work is extremely fine. The very top edge of the bodice is finished in a row of dangling beads that match the beads in the center of the medallions. These have just a touch of movement when you move. The bead work wraps over the shoulders and continues across the full back. Along the sides he has left part of the pale yellow silk which I found very interesting. It almost makes it feel like a breast plate or armoured vest over the silk chiffon and this is an idea that he continue to use throughout his career. The sleeves are very full and cascade out from a softly pleated shoulder. This gives them extreme fullness and they pouf out fantastically above the cuffed wrists. They are not lined so you get this fabulous touch of transparency through them. The skirt has many many yards of chiffon in its construction so that it feels like it is floating around you when you move. I have included some photos of myself sitting in the dress and you can see how many yards of silk are around me. It is tremendously wonderful to move in. The very bottom of the skirt is finished with a thin strip of stiffening fabric that has been hand rolled inside a tiny hem. This creates a ruffled ribbon effect and the hem curves and swirls beautifully. The work on this dress is meticulous and by hand. It is an amazing piece of fashion history. Excellent condition with a minor note to review below

Fully lined in a hand set yellow silk through bodice and the skirt has an inner skirt that is made of silk and then covered in silk chiffon. It closes with a hand set back zipper. Each cuff buttons to close. Hand work throughout and hand finished inner seams. Unlabeled. There is just the start of some fraying to the inner edge of the top at the shoulders and a tiny bit of darkening under the arms inside the bodice. Please see the final two detail photos. There is couple of really faint darkened areas in the silk here and there but you really have to look for them. Perhaps a touch of grubbiness here and there to the very edges of the hem.

Sleeves: 25"
Shoulders: approx 15.5"
Bust: 18" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Inner hips: 20" flat across from side seam to side seam
Length: 60" from shoulder to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3499

Reference Photos: Cherie, Owner of Shrimpton Couture.

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

This is an incredible dress. This was a dress produced for the shops and it would have been made specifically for the wedding collection that year. What is interesting about this dress is that I have another one in my archive that is from 2007 but in a coloured silk satin. So Lee's original design was re-issued in this ivory. You will recall that I recently had a lace dress in that was also made under the same circumstances where a original dress done by Lee was re-issued at a later date for a wedding collection. I love when they repeat pieces like this. This would of course make an amazing wedding dress for a bride or could be an alternative dress in a more extended wedding celebration. And of course it could also be worn to any fabulous and glamourous event. The dress still has its original hang tags in place and was never worn. It has that same bias cut draped feel as the McQueen that Elle Fanning borrowed and wore recently so that will give you an idea of it on other then the sleeve area of course. I am obsessed with this dress

This is a stunningly beautiful dress. It is one that will come to life even more once it is on an actual body and will only truly come to life when worn.  It is a dress that 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 ivory 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 skims over the bust, waist and hips to the floor. The neckline drops into a V at the front for a bit of skin to show. It glides over the bust and there is this interesting softly curved seam that starts at the bust and runs down into the side seam. This not not only helps to add a little shape but it also becomes this interesting design feature and a subtle way for him to work in one of his signature angled seams. The skirt continues past and over 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 incredible. They are set in these soft loops around each arm. They leave the sides of the shoulders bare and really add to the thirties feel of the dress. They are spectacular. It is in its original uncut length and was never worn. Excellent condition.

Fully lined in an ivory silk and closes with a hidden set back zipper. 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

Waist: to 14" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Length: 62" from top of shoulder to front hem, 75" the longest point of the back hem

Modern Sizing Equivalent: SML-MED

Item# DD4412

Reference Photo: Elle Fanning in Spring 2008 Alexander McQueen, from our archives, at the Critics Choice After Party, January 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 is from the Spring 2005 season. It does not have its date tag but at some point I saw a similar dress in a deeper ivory that did have its date tag. Like the other 2005 season dress in pink that I have in the shop right now the dress is exceptional and it would make a fabulous wedding dress for a bride, or be worn as an alternative dress in a more extended wedding celebration. And of course it could also be worn to any glamorous event. No matter how good it looks in these photos it looks a million times better in real life. The photos do not fully capture the feather light fabric of the dress and how it moves. In the review of the show that season Vogue noted that Karl's runway was decked out with a red carpet. The show launched with a parade of super models walking the red carpet 'while men ran alongside them popping flashbulbs. The message was clear, in an era when celebrity dressing has become so over exposed, it's only exciting when an actress has exceptional talent in style'. This was in acknowledgement to the fact that Nicole Kidman was there with Baz Luhrmann and they had just starred in Chanel's new advertising campaign for Chanel No. 5. It was a spectacular collection

This is such a stunning dress. The first thing that you will notice when you slip this dress on is how light it is and how incredible it moves. It is a dream to wear. That panel of tulle that falls from the shoulder gives it the most amazing movement and the slightest bit of air will pick it up and make it float around you. The front is set low and has a slight V. Because my dress form has no bust it sits a little lower then it will on an actual body but once on an actual person it will pull up a bit more. Silver toned ribbon straps curve over each shoulder and attached to the back of one of those straps is a loop of silver ribbons that cascade down that side. On the other side is that fantastic panel of tulle that sits at the base of the ribbon where it attaches to the bodice at the front. That panel is extremely long and full and you can wear it over your shoulder for a slight caped feel or behind. It extends longer than the hem of the dress for a pretty trailing effect. The bodice is completely covered in two patterns of sequins. Over the bust area they are more scattered and densely applied and attached with a fine silver metal thread. Rhinestones and clear iridescent beads are scattered among them. From the seam underneath the bust to the dropped waist are vertical rows of sequins. These are set on a silk netting and have a silver thread in behind them. He then had tiny beads scattered here and there amongst the pattern. Around the dropped waist is a wide silver satin ribbon and there is a little ivory Chanel logo sitting at the side of the waist. The waist is open and easy and the dress has a bit of a flapper feel to it in shape. Under that the skirt flows out from a series of closes panels set all the way around the hips. These open up just past that so that the lower part of the skirt is full. Just above the bottom of the skirt there is a horizontal detailing done in the same bead work that is on the body of the bodice. These are set in rows spaced a bit farther apart than they are on the bodice and this add the perfect bit of detailing there. As you walk you get this sweeping feel created by the panel draping down from the shoulder that floats and trails behind you. The netting keeps it as light as a feather but also has enough structure to hold the shape and volume you see. I love the row of domed pearl buttons that close the back. It is absolutely beautiful. None of the photos here give it full justice. Excellent condition

Fully lined in an ivory silk and it buttons to close at the back with a zipper set and hidden under the waist. The waist ribbon snaps and buttons into place at the back. A tiny bit of the colour has come off one button at the back and otherwise it appears to have been worn very little if at all. The easy cut should allow it to fit a range of sizes

Bust: 16-17.5" flat across from side seam to side seam
Natural waist: to 15.5" flat across from side seam to side seam
Seam at top of hips: to 17" flat across from side seam to side seam
Natural hips: to 20" flat across from side seam to side seam
Bodice: 20" from top of bodice to seam at top of hips
Skirt: 37" from seam at top of hips to hem
Length: 57" from the top of shoulder to hem, 66" to the longest point of the attached tulle panel

Modern Sizing Equivalent: XS-MED

Item# DD4413

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

John has dived into his archives once more for me and today I have the last of the five dresses he sent from his archives. This is a runway piece from 1993. The bead work on it was done by hand by Madame Gandini who did beading for many of the Couture houses of the day including Norell, Givenchy, Chanel and many others. John is one of my favorite American designers. He won two Coty Awards for his work. The first time in 1972 and then again in 1976. He designed clothes that were simple and elegant but glamorous. Striking evening wear was his signature and he is renowned for his cutting and tailoring. It is an extraordinary privilege to have pieces directly from his archives and these are things you will never see again. This one would be an amazing wedding dress for a bride or could be worn as an alternative dress in a more extended wedding celebration. And of course it could be worn to any glamorous event. It is a work of art and incredibly beautiful.

This dress is absolutely stunning. The fabric is an fine ivory coloured silk chiffon that is cut on the bias. It is lined in a nude silk chiffon and then the upper bodice is finished with a fine silk netting. The dress is detailed with  thousands of teeny tiny silver sequins and iridescent clear beads. The silk is feather light and the placement of the beads help it to hold the intended flow that John wanted it to have. The dress is suspended from the silk netting that starts at the neckline and then goes up and over the shoulders and down the back. The netting has just a touch of a green tint to it to give it a little bit of contrast against the skin. I love how the beading is intensified over the front bust area. The iridescent quality of the beads mixed with those tiny silver sequins catch the light and sparkle from every angle. The dress flows over the waist and hips from there. The bias cut lets it drape perfectly over you and shows off the body without being excessively tight. The front is set into a low V. It sits a little lower on my dress form then it will on an actual body so keep that in mind as you look at it. Two triangles curve in towards each other to meet at the center and then it wraps down and around the waist to the back. The back has the illusion of being left completely open under that single layer of netting. The skirt falls to the floor and gently widens out as it nears the hem. The back is cut longer then the front so you get a bit of a trained effect behind you as you walk. From the bust to the lower skirt you have a scattering of the beads and sequins over the silk. Around the hem these are set in a dense panel which not only adds detail and ties in the extensive detailing on the bust but it also gives the lower skirt a touch of weight to hold the shape and volume as you walk and stand. The colour is perhaps a touch brighter in person. It has this lovely feeling of being an heirloom piece and it is fantastically beautiful to see in person. It is a very special piece. Excellent overall condition with a note below.

Fully lined in a nude silk chiffon and slips over the head to wear. It hooks to close along the top of one shoulder. There are two areas where the netting has torn. One on the back shoulder and a tiny one near the shoulder seam. I also see a repair at the top of the shoulder. These could be repaired or it would be very easy to remove the netting completely and add tiny silk straps. Some of the bead work has loosened here and here and there are some small areas where they have fallen off. I have priced the dress taking these small flaws in mind. Please see the photos after the label shot. This is the original runway sample. Handwork throughout. Completely bias cut.

Bust: 14-16" flat across from side seam to side seam
Waist: 12-15" flat across from side seam to side seam
Hips: to 25" flat across from side seam to side seam
Length: 68" from top of shoulder to front hem, 75" to the longest point of the back hem

Modern Sizing Equivalent: XXS-SML

John's business was all done on a made to order basis. That means the majority of pieces you will find are a one-off, or if there are similar pieces, very few of each piece exist. This personal attention to each dress is clearly seen in the workmanship of his pieces. His work is very expensive and beaded pieces like this sold for over $20,000 and more during this time period. Having this actual runway samples that John pulled from his own archives to share with you is just amazing.

Item# DD4414

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