Ferdinando Sarmi was an actual Italian Count and started his design career working for the Elizabeth Arden couture salon during the 1950s. In 1959 he ventured off on his own and launched his label. He designed for just over a decade before closing up shop. During those ten or so years he was especially known for his evening wear. The fabrics he chose were often opulent or very difficult to work with. This dress was obtained from the same source as the other Sarmi listing today and I have included that one's reference photo from 1964 here. Both dresses were purchased at the same time for a mother and her daughter. 

The dress is very representative of its time period. It has beautiful lines with a very full skirt that is feather light due to its fabric choice of an ivory silk chiffon. Using the silk chiffon for the dress gives it a feeling of lightness and fantasy as it floats around you once on the body. You can get a sense of just how much movement it has in that wonderful reference photo I have added here. The very top layer of the silk has a hint of transparency to it that adds to the feeling of lightness that is created as it floats over the other inner layers of cream silks that make up the skirt. The bodice is strapless and fitted and has been completely covered in a natural mink that wraps around the wearer. It dips down at the front in a sweetheart neckline. The waist is accented with a large chocolate coloured silk ribbon that is finished in bow at the front. From there the skirt gently widens to a beautiful fullness in a cascade of silk. It is very light and airy feeling when on but inside the construction is immaculate with a full inner corseted foundation made of lingerie netting to keep it perfectly in place. Excellent condition

Fully lined in an ivory silk through the skirt and the bodice is finished in silk with an inner corset made of a cotton net. It closes with a back, hand set painted metal zipper. Hand finished. Made to demi-couture standards. There is some very minor grubbiness to the hem here and there.  

Bust: 18" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 6" from top of bodice to top of band and the decorative band is then 2" wide
Skirt: 47" from top of band  at the waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3607

Reference Photo: Brigitte Bauer in chiffon evening gown with mink bodice by Sarmi, photo by Howell Conant at the Lunar Fountain in New York's World Fair, 1964. Shown in Life Magazine, August 1964.

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 a small collection of historically important, key designer labelled vintage furs and fur trimmed pieces stored away in my archives that I will be slowly posting on the site over the next couple of years until I have none left. I will no longer be buying furs for the shop moving forward and have not purchased anything for several years now. I feel like times have changed and while there still is a place for vintage furs for some, including collectors and historians, many modern girls are choosing other options. Many of the pieces in my collection are representative of the designer during a set time period in history that was different then our modern outlook. I have decided that the best course to handle this controversial issue is to let the pieces I have go rather then sit in a cold storage unit. Fur pieces are final sale.

Norman Norell was known to say that the interior of a dress was the most important part of the dress. His inner seams were cut two inches or deeper. He went to great lengths to create couture like quality in his designs and this meticulous approach to his work stands up to time. Norell pieces are works of art and examples of how to properly construct a garment. Norell launched his independent label in June 1960 after a successful partnership with Anthony Traina under the Traina-Norell label. His trademark was simple but elegant clothing and he was a roaring success. This is a stunning example of his work and the dress is immaculate. It was sourced from the same woman who the Sarmi dresses I am posting today came from and this may have been a custom piece made specifically for her at the time. 

Norman Norell dresses were not only extremely chic and sophisticated, they are also cut with exception mastery. Every line and seam is placed exactly where it should be to flatter the body and create an air of sophistication. This dress is a fabulous example of that and the lines of it are amazing. It is a chic silk crepe sheath and the lines that it is made up from and cut with have a long and sleek feel. The neckline is high and curves and wraps around the neck. I have photoed how the collar is set in so that it dips into a angled seam at the back. This subtle little detail is just beautiful and shows just how much he paid attention to the smallest details. The shoulders are soft and the sleeves are long. Each sleeve widens out at it nears the hem and is finished with an extra wide cuff made out of a natural mink. The waist is open and easy. The dress falls in a sleek column that gently widens out as is nears the floor. At the hem there is another wide band of mink wrapped all the way around. This anchors the design and also is set so that it holds the shape of the dress so that you get that beautiful line that you see. Don't be fooled by it's simplicity - it is seamed and constructed to couture levels and the finishes within it are superb. Excellent condition.

Fully lined in a fine ivory silk and closes at the back with a hand set painted metal zipper. Hand finished throughout and made to demi-couture standards.

Shoulders: 14.5"
Sleeves: 23"
Bust: 19.5" flat across from side seam to side seam
Waist-hips: 19" flat across from side seam to side seam
Length: 57" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD3608

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 a small collection of historically important, key designer labelled vintage furs and fur trimmed pieces stored away in my archives that I will be slowly posting on the site over the next couple of years until I have none left. I will no longer be buying furs for the shop moving forward and have not purchased anything for several years now. I feel like times have changed and while there still is a place for vintage furs for some, including collectors and historians, many modern girls are choosing other options. Many of the pieces in my collection are representative of the designer during a set time period in history that was different then our modern outlook. I have decided that the best course to handle this controversial issue is to let the pieces I have go rather then sit in a cold storage unit. Fur pieces are final sale.

Ferdinando Sarmi was an actual Italian Count and started his design career working for the Elizabeth Arden couture salon during the 1950s. In 1959 he ventured off on his own and launched his label. He designed for just over a decade before closing up shop. During those ten or so years he was especially known for his evening wear. The fabrics he chose were often opulent or very difficult to work with like fins silk chiffons like this. This dress was obtained from the same source as the other Sarmi listing today and I have included a reference photo from 1964 that depicts the twin of this dress. Both dresses were purchased at the same time for a mother and her daughter. 

The dress is very representative of its time period. It has beautiful lines with a very full skirt that is feather light due to its fabric choice of an ivory silk chiffon. Using the silk chiffon for the dress gives it a feeling of lightness and fantasy as it floats around you once it is on the body. The silk on the skirt of this one has been meticulously knife pleated for an added bit of texture. This also allows the silk to really open and move as you move. You can get a sense of just how much movement it has in that wonderful reference photo I have added here. The very top layer of the silk has a hint of transparency to it that adds to the feeling of lightness that is created as it floats over the other inner layers of cream silks that make up the skirt. The bodice is fitted and has been completely covered in an ivory coloured mink that wraps around the wearer. It is cut straight across at the neckline and has capped sleeves that are also made out of mink that curve up and around each shoulder. The waist is accented with a wide ivory silk ribbon at the front. From there the skirt gently widens to a beautiful fullness in a cascade of silk. It is very light and airy feeling when on but inside the construction is immaculate with a full inner corseted foundation made of lingerie netting to keep it perfectly in place. Excellent condition with a minor note below

Fully lined in an ivory silk through the skirt and the bodice is finished in silk with an inner corset made of a cotton net. It closes with a back, hand set painted metal zipper. Hand finished. Made to demi-couture standards. There is some very minor grubbiness to the hem here and there. A little marking on the ribbon from where the original owner added a pin whenever she wore it. Unlabeled but verified by the reference photo attached and known history of the dress

Bust: 13" flat across from side seam to side seam
Seam under the bust: 13.5" flat across from side seam to side seam
Hips: open
Bodice: 11" from top of bodice to top of band and the decorative band is then 2" wide
Skirt: 48" from top of band  at the waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3609

Reference Photos: (1) Brigitte Bauer in chiffon evening gown with mink bodice by Sarmi, photo by Howell Conant at the Lunar Fountain in New York's World Fair, 1964. Shown in Life Magazine, August 1964.  /  (2) Model wearing Sarmi, 1964.  /  (3) 1964 Sarmi Evening Dress in The MET Online Collection.  /  (4) Mrs. Cornelius Vanderbilt in Sarmi, 1964.

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 a small collection of historically important, key designer labelled vintage furs and fur trimmed pieces stored away in my archives that I will be slowly posting on the site over the next couple of years until I have none left. I will no longer be buying furs for the shop moving forward and have not purchased anything for several years now. I feel like times have changed and while there still is a place for vintage furs for some, including collectors and historians, many modern girls are choosing other options. Many of the pieces in my collection are representative of the designer during a set time period in history that was different then our modern outlook. I have decided that the best course to handle this controversial issue is to let the pieces I have go rather then sit in a cold storage unit. Fur pieces are final sale.

I already had the documentation on this dress because I sold an unlabeled brown coloured version of it in the past. This one however, seems to be the near twin of the one that I have a reference photo of and have included here. It is an interesting piece because of the documentation and it also has an interesting design in the way that it wraps and closes. The dress is not perfect. The dye has faded substantially on parts of it. It may be possible to re-dye it but my client did not want to do that now in case it is important to a collector to have it stay as original as possible. It is an amazing example of his early couture work.

Regardless of its imperfections, the dress is amazing and the pink is an instant eye catcher. The inner dress is a long, sleek sleeveless sheath. Over this sits is an overlay that is made up of a long wide panel of the same silk as the inner dress. This overlay drapes down the front and then again down the back in a long stark column. The front overlay has straps that extend out from each side and these wrap and hook to close between the inner sheath dress and the back overlay. Down the front there is an extensive beaded design. The neckline is wrapped in curving bands of silver toned beads that circle the neck like a bib. Below that three huge diamond shaped medallions run down the front with the top one being the largest and the bottom and middle slightly smaller then the one above. In the centre of each beaded diamond are a mix of deep pink and paler pink prong set crystal rhinestone surrounded by pearls. The silver needs have been sewn into place using a matching pink thread to the silk of the dress and this gives them a slight pink tone. It's genius. That elaborate front is like wearing a jewelled bib and it is extraordinary. All of the work on the dress has been done by hand and to couture standards. The dress is wearable and sound outside of is obvious discolourations. 

Fully lined in a pink silk with hand finishes throughout. The dress closes at the back with a hidden set metal zipper. The wrap around straps hook to close at the back and there is a series of hook & eye across the top of one shoulder. There appear to be some repairs to the beading near the neck and a small area of shattering to the silk on the inside back neck. The silk has faded in areas throughout. Please see the photos provided to get a good sense of the parts that have lightened. Sold as found and final sale. All hand done and made to Haute Couture standards. 

Bust: 18" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 54.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD2577

Reference Photos: Model in Pierre Cardin, 1969, credit unknown.

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

The Oscar de La Renta boutique label first appeared in 1967 which makes this one from one of the very earliest collection for this line. His boutique label is important as is marked the first ready-to-wear line for a Seventh Avenue designer to be launched. These early pieces have lots of hand finishes and are just stunning example of his work during these early days of his career.

I love this dress. It is made out of a very unusual fabric. It is a silk organza that has been covered on little tufts of gold that are made from a combination of a small bit of velvet with gold metallic thread that has been pulled through the velvet base to create each individual tuft. To contrast this and give the dress a touch more of a metallic feel Oscar then added a wide, flat, silver and gold metal thread ribbon. This panel of fabric runs down each side of the entire front and back of the dress, circles around the waist and also finishes each cuff. A band of that same ribbon is then wrapped all the way around the lower hem. The fabric is very light in weight so that the dress is very easy to wear. It has short capped sleeves and it buttons down the front to close. I love the exaggerated pointed collar and how the silver detailing is set onto the front bodice so that it curves in a bit to perfectly accent the bust. The waist nips in just a touch and then the skirt cascades to the floor gently widening out as it nears the hem. It is really a gorgeous dress and very well made. Excellent condition.

Fully lined in a black silk except for the sleeves. Closes at the front with domed buttons and snaps & hooks. The fabric of the buttons show slight fading. In person the silver and gold feel more true silver and gold then how it photoed. 

Shoulders: 15"
Bust: 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of bodice to centre of band at waist
Skirt: 44" from centre of band at waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3603

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 comes directly from the original couture client and is an exceptional example of Valentino's Haute Couture work that he was doing during the 1980s. Finding pieces from this time period is a rarity and I am very pleased to have this beautiful dress in the shop. I am also pleased to have found several documentations of the dress from that season. The dress is featured in the book "A Grand Italian Epic: Valentino Garavani" by Taschen, which is considered to be one of the definitive volumes on Valentino's work. It was also featured in the March issue of Italian Vogue. That layout was photoed by Steven Klein and the dress was modeled by Monica Gripman. It was also shot on model Brynja Sverris for one of the Valentino campaigns that year. This is one of his most recognizable dresses that he has ever created and you instantly recognize it as being by him the second that you see it. It is an extraordinary and historically important piece of Valentino's couture work. This would also make an exception bridal dress for the non traditional bride or as a secondary dress to change into.

This dress is extraordinary. The lines of it are pure poetry. The front of the dress has been done with a minimalist feel and its entire design is deliberate to give you just a glimpse of what will happen when you turn around. The top overlay is made of a black silk faille and the neckline is high and slightly scooped. It curves and skims over the bust and nips in gently at the waist. The shape that you see is all done with beautiful curving vertical seams so that there is no line to break the sweep of the eye. This then extends into a long panel that lays over the inner skirting. It is cut on one side with more of a curved line, while the other side is set on a slight straigher line that runs up to the the detailing at the back. This slight asymmetrical cut is fascinating and it is done so subtly that at first your eye does not see it. Instead you only see how this allows the underskirt to sweep out slightly more on one side then the other. From under that the skirt flares out and back in a tremendous sweep of fabric. The underskirt is also made out of a heavy silk faille in a creamy ivory with black dots. Many yards of silk have been used its construction and it designed to have massive volume at the back. From every angle of the dress you get these wondrous sweeping views. At the back the black silk is cut into a V and set slightly to one side. Where each side of the front overlay meet, there is a huge ivory silk flower. The lines that lead up and towards the flower are all curving perfection and the way that the black sweeps up to meet the flower is a moment in itself. The flower is huge and sits nestled in the crook of your low back. The interior of the dress is made to couture standards and is as stunning as the exterior. There are attached inner tulles that give the skirt its shape and volume. It is one of the most beautiful dresses I have seen. It is an amazing example of his earlier Haute Couture work. Excellent condition with a couple of minor notes below. 

The dress is lined in a black silk and there are attached underskirts in silk tulle. It closes with an inner zipper that is attached to the underskirt with a second exterior zipper over that. Inner waist stay hooks to close. The panel where the flower is set snaps into place with hand covered silk covered snaps. I see some grubbiness at the hem and on the flower and a repair to one of the tulle underskirts at the back. Near the base of the inner zipper the fabric has come away from the seam. All of these are minor. Please review the photos provided after the label shot. Finished with Haute Couture construction techniques throughout. 

Bust: 17.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Length: 58" from top of shoulder to front hem, 68" to the longest point of the back hem

Modern Sizing Equivalent: SML-MED

Item# DD3604

Reference Photos: (1) Brynja Sverris in S/S 1988 Valentino Haute Couture by Gianpaolo Barbieri.  /  (2-3) Monica Gripman in Valentino Haute Couture for Vogue Italia, March 1988. Photos by Steven Klein.  /  (4-5) S/S 1988 Valentino Haute Couture Dress as shown in the book "A Grand Italian Epic: Valentino Garavani" by Taschen.  /  (6-7) Queen Sofia of Spain in Valentino, meeting Queen Elizabeth, at the Palacio Real de Madrid, in Madrid, for a state banquet in Spain, 18 October 1988.

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

Zandra Rhodes is one of my favourite designers and I love the pieces that she did in the 1980s. This dress is closest  to the work she did for her 'Fairy' collection that was done for the Spring 1981 season. The collection has a strong showing of these black and gold pieces that featured her amazing custom hand painted prints. 

This is a stunning dress that is done in a dramatic combination of black and gold. The skirt is hand painted and the lace on the top has been selected to match and compliment the skirt's design. The bodice is made of a black lace netting that has gold metallic thread woven through to highlight the design in the fabric. The neckline is squared off and I love how the edges of the lace follow the pattern across the neck and back to soften the straight line there. The sleeves are set into that and curve over the shoulders and then run down the arm to just past the elbow. They are unlined so you get glimpses of skin through them. The top curves down past the waist and flares out over the top of the hips. The skirt is set under that and is very full, widening out as it nears the hem. The skirt is constructed in layers. The very outer top layer is a silk organza and then there are layers of tulle with a third inner black silky rayon lining under that. These built in layers are what gives it the fullness that you see and I have not added any extra underskirts. The top layer is completely covered with one of Zandra's signature designs. The gold runs over the entire surface and it is all completely hand painted with a beautiful sun pattern. It is gorgeous and, like all of her pieces, it is very special. It appears to have been worn very little if at all. Excellent condition

Fully lined in a black silky rayon and closes with a back hidden set zipper. The skirt is made up of multiple layers of  as described above. It appears to have never been worn or worn very little. Tagged a UK 12, US 10. 

Sleeves: 16"
Shoulders: no true defined seam
Bust: 18.5" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: open
Length: 60" from top of shoulder to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3605

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

Christian Lacroix launched his Haute Couture house in 1987 and his work was instantly revered world wide. He defined an era and he was crowned the King of Couture. A ready-to-wear line soon followed along with perfumes and menswear. His collections were always exotic and lavish affairs. He drew his inspirations from across the decades 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 comes to me from the original couture client. The twin of this piece walked the runway that season. My client ordered hers in a slightly different shade of silk taffeta and the atelier changed the colour of the stone in the jewelled brooches to match this fabric selection. His couture pieces rarely come to market and this is an exception example of his work. 

The dress is beautiful. It is made out of an iridescent silk taffeta that changes colour slightly depending on how the light hits it. It can go from a deep bronze colour to an iridescent blue tone. Each sleeve is long and slim and cut to end just above the wrist. A row of five silk covered buttons runs up each wrist with working silk loops. The body of the dress is cut into a simple sheath and then it has been gathered up along one side and secured in place with that incredible huge brooch. The brooch is a gold metal circle that has large golden topaz glass crystals mixed with brilliant blue glass stones. The neckline folds over in a curve of fabric and is set very wide across the shoulders, angling down to leave one shoulder bare. The back is tremendously beautiful. That wide neckline from the front dips and angles down at the back to leave a large part of your back exposed. I love how the silk takes on a draped and wrapped effect as it is brought down to the point where the bare expanse of skin ends. Another huge jewelled brooch has then been pinned in place there to anchor the draping. Below that a stiffened panel of silk flares out dramatically to one side in a half bow effect. I have included some shots of the clever way the dress and back close and you can see the meticulous work that has been put into the piece to ensure it drapes perfectly. 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. It is in wonderful condition with a few small things to note from normal wear. There is rubber ribboning along the neckline to hold it in place and this has changed colour here and there. There is one stone 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. Very minor. It is really in stunning condition. Unlabeled and sourced from the original couture client

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 Photo: 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.

This dress comes directly from the original couture client and is an exceptional example of Laurent's Haute Couture work that he was doing during this time period. Finding pieces from this time period in such wonderful condition is a rarity and I am very pleased to have this beautiful dress in the shop. I did extensive research on this one and though I found some similar references from a couple of collections that dated to the same time period that my client's mother as shopping at, I was unable to find any photo of this exact dress. There was a similar lace used in both the Fall 1885 and Fall 1986 collections (which historically was a bit avant garge for the time period as lace had not been seen in couture for some time at that point). Similar colour combination were seen in the Fall of 1989 and for the Fall of 1991. The 1991 collection also features a couple of laces that were similar and that clue, combined with the colour usual for that collection and the number on the label makes me feel that it is most likely dates to 1991. This is also in line with the years that she was actively buying couture. She was a good enough client that there is a high possibility that this was a one-off that was made just for her and is the only one like it made. It is very beautiful and made more towards his aesthetic where he made the dresses to be very tailored and structure as opposed to his opposite side when he did pieces that were more along a drape and flow construction. This is a a dress that truly needs an actual body in to to come to life. It is extraordinary 

The bodice of the dress is highly structured and the choice of silk taffeta allows Yves to mold and shape the sleeves and bodice like sculpture. It is cut to be worn completely off the shoulder so that you get that full bare expanse of skin. A wide band of a deep fuchsia pink silk taffeta, that has a touch of a purple undertone to it, runs across the top of the bodice and then extends down to form each sleeve. He has manipulated and gathered the fabric into folds along the entire length of each arm. The remainder of the bodice is also constructed from a silk taffeta but this time in deep burnt copper that has a touch of a metallic glow to its finish. This too is gathered along each side so that there are soft pleats that lay across and around you. I love how the eye gathers feel cohesive from the body to the arms but the colour gives contrast and the gathers are set slightly different so that you have a slight change in how the texture feels. The skirt comes out from the waist and is a very formal feeling skirt that is attached into the waist with soft pleats that open up to allow it to be quite wide by the time it reaches the hem. The underskirt part is a beautiful rich purple. The purple silk is then covered in a layer of black French lace that has a stunning floral design set within medallions. These run over the lace and are repeated throughout to create the beautiful pattern that you see. I love that the bottom edge of the lace follows the curving shape of the design that is in the lace. His finishing touch is done with a wide silk ribbon in a bright green that wraps and ties around the waist. I love this unusual colour combination. You could also easily wear it without the sash or change it for a more structure belt to add more shape. It is very elegant and yet the bare shoulders add a touch of sexiness. I very much love this side of his work where he works within a strong, shaped silhouette and then created a gown to his exact intentions. Excellent condition 

Fully lined through the bodice in a fine black silk satin. There is a built in silk covered elastic that is attached and wired right between the breast for a slight bit of support and then wraps around you and hooks to close. It closes with a side set zipper and has an inner waist stay that hooks to close. There is a series of snaps above the zipper that run under the arm seam so it opens enough to get into it. Each sleeve zips to close at the wrist. The exterior layer of the skirt closes with its own a hand set side zipper. The silk ribbon belt is tacked into place on either side of the waist. On the interior of the skirt at the inner waist the fabric has been folded down and it looks like it would be possible to lengthen the skirt from there by just about 4" but the side skirt zipper would need to be reset if you did that. There is perhaps a touch of dusting on the fabric on the folds under each arm. So minor I am just being crazy picky because it is couture. Done with Haute Couture construction techniques.

Sleeves: 20" from where they start off the shoulder 
Bust: to 16.5" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: open
Length: 54" from top of bodice to hem

Modern Sizing Equivalent: SML-MED

Item# DD3598

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

This particular dress was one of the standouts of the Fall 2009 Gucci presentation collection. On the runway it was shown as a mini and in Vogue's review of the show it was mentioned specficially; 'With the slicked-back hair, crimson lips, and mirrored shades, it was hard glamour for hard times, with the occasional half glance back at Tom Ford's heyday in a blue fox chubby or a skimpy one-shoulder black jersey dress with a slice of patent in the neck.' And it is indeed a dress that you might think was a Tom Ford at first glance. The shorter version was used in the extensive ad campaign that season as well. When it was sent to the stores they produced it in this longer version as well as the short. This one has its original tags and was never altered so is in its original supermodel length. 

The dress is made out of a silk jersey that has incredible drape and movement. It is cut supermodel length and then some. Even on my tall dress form it went well past and puddled on the floor. This is a dress that is meant to come to life once on the body. You kind of have to look at the runway photos and then imagine the skirt falling all the way to the floor and what an incredible impact that would make. It is cut with a single sleeve that come out wide from the shoulder and waist and then narrows down as it reached the wrist. The neckline is then angled across the front and at the back it dips into a low angled cut that is set quite deep to the side. This leaves the majority of your back exposed and is very sexy. The dress skims over the body from there and falls to the floor. At the back there is a very high slit partially hidden by the overlapping of the fabric and this lines up right under the post of the open back. The neckline is accented by a strip of patent leather that has a holographic finish to it that subtle catches the light in a rainbow of colours. It's fantastic. Still has its original tags attached and has never been worn. Excellent condition 

There is a second layer through the body in the same stretch jersey as the outer layer. It closes with a hidden set side zipper and there is an inner waist stay that hooks to close. The sleeve is a single layer of the fabric and has a button and loop to close. The dress has its original tags and even an extra button for the cuff. Tagged a size 44. The dress has stretch so should fit a range of sizes. 

Sleeve: approx 26"
Bust: is variable as there are no true side seams with how it is cut
Inner elastic waist stay: 13-18" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Length: 69.5" from top of shoulder to hem

Modern Sizing Equivalent: MED-XL

Item# DD3599

Reference Photos: (1) Fall 2009 Gucci Runway. Look 33. Model: Freja Beha Erichsen.  /  (2-6) Fall 2009 Gucci 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 is a very pretty 1980s Oscar de la Renta dress that is not 100% perfect but still has lots of life to it. It has a a pretty silhouetted that I love. A women actually reached out and donated this one to me hoping that it could find a great home and I will in turn donate the proceeds from it once it sells. So it is a great little dress and will do an extra dose of goodness after it finds its new forever home too.

The dress is made from a pretty black silk taffeta that helps to hold the shape and volume through the skirt that you see. The bodice has an almost squared off feel to it with a straight across neckline at both the back and the front. It is cut to skim over the body and widens out slightly as it nears the waist line. The waist itself is dropped low to just about the top of the hips and this play on proportion gives the dress a touch of an unusual feel but without needing anything extra in terms of ornamentation. At the back it buttons up with a series of silk covered buttons for a subtle bit of detailing. The skirt is set into the dropped waist seam in a series of soft gathers and then is quite full under that. It falls to just above the ankles so that you will see your shoes peek out from under it and that length perfectly suits this silhouette. The skirt has a second layer of silk organza under it to help hold the shape and volume. What makes it not perfect is that it looks to have been washed and this has given the fabric a slightly faded feel and some of the edges have lightened and faded a touch. It is still completely wearable and with all the variations of things out there nowadays it doesn't necessarily feel like a flaw. Great overall condition but please read the full description.  

Fully lined in a silk organza. It closes at the back with a row of silk covered buttons. It has the appearance of having been washed. The very top button is different from the rest. Someone let out the seams on both sides of the dress and you can see the faint stitch marks. Please see the last photo. It is cut on the boas so has some stretch 

Bust: to 18" flat across from side seam to side seam
Waist: to 16" flat across from side seam to side seam
Seam across the top hips: to 19" flat across from side seam to side seam
Bodice: 21.5" from top of bodice to waist
Skirt: 34" from waist to hem

Modern Sizing Equivalent: SML-LRG

Item# DD3600

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 reminds me of the pink one that Gwyneth Paltrow wore to the Oscars in 1999 (which was not a Calvin Klein but has the same line and feel as this one). This one is made out of a black fabric that has the hols of a taffeta but with a little more weight to it so that hold the shape and fullness that you see very well. The bodice is cut in a very low plunge that goes right to the waist. It sits wide across the chest and has no boning on the interior. It is more meant to float over the breasts and hang suspended from the straps. I have put it on the dress form so that the straps cross over at the front and I think you could also wear it with them crossed over at the back if you preferred. I think it will depend on how it sits on you. There is no seam at the waist to break the line. The seams under the halter are angled off to the side and then the skirt falls to the floor in a widening expanse of fabric. There are insets built in on the skirt on both sides that give it even more volume and flare. The back is cut longer so you get a slight trained effect. The back is left completely bare and bottom is done on a slight pointed angle that picks up the line of the back of the skirt. It is very minimalist and very nineties chic. Excellent condition 

The bodice is lined in the same fabric as the exterior and the skirt has an inner black silk lining. It closes with a hidden set back zipper. Inner elastic waist stay that hooks to close. I see some very slight shiny marks on the skirt from where the fabric folded during storage. There is so much fabric that its not something you would notice and you only see it when the light hits it a certain way and its laid out flat. It would not even photo. It appears to have never been worn otherwise. 

Bust: to 17" flat across from side seam to side seam with some room since its open in the back
Waist: is open to 15.5"" flat across from side seam to side seam
Hips: open
Length: approx 61" from neck to front hem, 71" to the end of the back hem

Modern Sizing Equivalent: SML-MED

Item# DD3597

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

Isaac Mizrahi presented his first collection through a trunk show at Bergdorf Goodman's in 1987. By 1992 Chanel had bought a stake in the company and Isaac's name was everywhere. He was doing custom work for clients and Hollywood on top of his mainline. In 1995 Isaac was the subject of the movie 'Unzipped' based on his Fall 1994 collection. He is known as much for his personality as he was for his clothing. The Council of Fashion Designers of America (CFDA) recognized him with the Perry Ellis Award (now called the Swarovski Emerging Talent Award) in 1988 and the women's wear designer of the year award in 1989. He loved to experiment and would often change his aesthetics from season to season which was his ultimate downfall. After the fall 1998 show Chanel pulled its stake and the company folded. He attempted a couple of subsequent come back attempts, but for collectors these early years are the most important pieces to find.

My client had this dress custom made for herself and worked one on one with Issac on its design. It is a gorgeous dress and it really feels like its time period with its bit of a nod to Old Hollywood but with the quirky bow at the back. It is made to demi-couture standards. The dress is very long and the lines are simple. The bodice is molded and sculpted into a plunging V at the front and at the back. The fabric on the bodice simply extends into straps and curve over the shoulder. The dress falls from there and all of the seaming to create that wonderful curving shape that you see is created by long vertical seaming. This means that there is no line at the waist to break the beautiful curves the dress created. Even off of the body and on the hanger this one has curves. The fabric that he has chosen is a heavier silk matte satin that holds the shape he meant it to have very well. It is a deep lilac colour that is very beautiful. The photos have come close to capturing the colour but in person is a touch lighter and brighter and even better. At about the knee the lower skirt starts to begin to flare out in an angled and sculpted line. It is set into the body of the dress on an angle at the front and also at the back and this clever seam placement helps to elongate the line of the dress. At the back there is a huge bow that is set on that same angle to follow the seam. I love how it makes a tremendous impact from the back and then even from the front you see it peaking out slightly on either side. The very back of the skirt is cut to a slight point and is a touch longer then the front. All of the shaping you see has been creating by seaming and fabric placement and it really shows just how great he could cut a dress. It is even better in person and once on an actual body it really comes to life as the skirt moves around you. Excellent condition

Fully lined in a matching purple silk and closes with a hidden set back zipper. There is slight scuffing to the very back hem that is very minor. Please see the last photo after the label shot. 

Bust: 17" flat across from side seam to side seam with an approx A-B cup
Waist: 15" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 59.5" from top of shoulder to front hem, 62" to the back

Modern Sizing Equivalent: SML-MED

Item# DD3595

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

Teal Traina once pointed to the entrance of his Seventh Avenue showroom and said: “It should say ‘school’ over the door.” That is because Teal, who inherited the label from his uncle Anthony Traina, hired many young designers who were just starting their careers. Geoffrey Beene, Dominic Rompallo, Chester Weinberg, Rodriguez and Kay Unger all worked for the label at some point. His uncle was also the financial backer for the Norman Norell label so you will often see a collaborative label between the two companies from the original partnership that started in 1941. Traina Inc launched in 1959 after the Traina-Norell partnership closed. At this point Geoffey Beene joined the company and remained there as the designer until 1963 when he left to start his own label. He said of his time there; “Traina was one of my original boosters. He left me alone and made it possible for me to do my own things. He had a great sense of humour. I shall forever be humbled to him.” This dress would have been made during the Beene years so has a double dose of fashion history as it is a fabulous example of the Traina label and a very early example of Beene's work as a young designer.

The dress is beyond gorgeous. It is made out of a heavy silk satin and this fabric choice allows it to maintain its wonderfully crisp lines while still feeling soft and romantic. There is that banded bodice that Beene would go on to do variations of throughout his career. The bodice is high set in an empire cut and is a simple wide band of a deep olive silk that wraps all the way around you. Above that a soft pale turquoise silk curves over the shoulders and is set on an angle in towards the banding on both the front and back. Sleeves extend down in a slim long line in the same pale turquoise silk. The skirt comes out from underneath the banding at the bodice and falls to the floor, widening out as it nears the hem. The skirt is a soft lavender colour. The unusual mix of colours that he has chosen is part of what gives the dress its beauty and the silk is heavy enough to help keep the shape you see. At the back the banding lies over the zip closure and then closes with two thick metal buttons that are covered in rhinestones. It is very beautiful and even though it is not 100% perfect it is sound and wearable and a fantastic dress that I personally would wear as is in a heartbeat. Overall great condition with notes below to review.

The bodice is lined in the same turquoise silk used on the exterior. The skirt is lined in a white silk mix muslin. It closes at the back with a metal zipper and then the banding buttons to close over that. Some stones are missing out of the buttons and there is a line of fading down each side of the skirt. Some grubbiness along the hem line. Sound and wearable. Extremely well made

Sleeves: 23"
Shoulders: 15.5"
Bust: 17" flat across from side seam to side seam
Seam under the bust: 15" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Bodice: 11.5" from top of bodice to waist
Skirt: 47.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3596

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

This is a gorgeous Valentino Haute Couture dress from the early to mid 1980s. It is beautifully made and a wonderful example of Valentino's Haute Couture work that he was doing during this time period. I love this backless version with its low front plunge. It is a little sexier then some of his couture work tends so be but it still has that refined elegance that you would expect from him combined with a bit of pure drama created in that moment when you first turn around and see that bare expanse of skin. 

This dress is wonderful. In person it is even better then how it photoed because like all couture it really needs to be on an actual body to come to life and sit properly. The cut has been kept fairly simply but is still sexy with its plunging halter bodice and long skirt that falls to the floor from under the banded waist. The dress is made from a lightweight bias cut silk in a deep charcoal black-grey colour. Onto the silk is a graphic floral leaf design in a deep ivory that covers the entire dress. The bodice is cut into a halter style with wide straps that curve up and behind the neck to leave the shoulders bare. The two panels of the front cross over themselves and dip into a V at the front. It then curves around waist at the lower back and this leaves the back completely bare. The waist is defined by a wide panel of black silk that is gathered and shirred. The ends of this banding extend into very long ties that you can wrap and tie or simply loop at the side and leave to hang long as I have down for the photos. Under that the skirt flows to the floor and gradually widens out just a touch as it nears the hem. The inner conduction is all down to Haute Couture standards and is interlined in a silk chiffon so that they dress stays wonderfully light but still very well constructed. It is a beautiful example of his earlier haute Couture work. Excellent condition with one minor note below

Fully interlined in a black silk chiffon and closes with a low set zipper at the side below the waist and then silk covered snaps and hooks above that. The hem looks to have been taken up at some point. Hand finishes throughout. Done with Haute Couture construction techniques. Inner waist stay hooks to close.

Bust: to 18.5" flat across the back side seam to side seam with generous fabric at the front
Waist: 15.5" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: approx 16" from top of neck to top seam of the band at waist
Skirt: 44.5" from waist to hem with 2.25" turn up under the hem

Modern Sizing Equivalent: MED-LRG

Item# DD3593

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

Hanae was the first woman of Japanese descent to have presented on the Paris and New York runways and the first Asian woman to be admitted as an official Haute Couture house to La Chambre Syndicale de la Couture Parisienne. Her work is exceptional. This set is a little extra special since it still has its matching jacket which gives you more versatility in how you can choose to wear it. Hanae Mori excelled at these beautiful floral prints and when I find pieces with one of her oversized florals done in a mix of her signature soft and dreamy pastels I am very happy. I feel that pieces like this are among the very best representations of her work.

This is everything you look for in a Hanae piece. It has that wonderful custom designed print screened onto feather light silk layers on both the exterior layer and on the inner dress. This allows the two prints on each layer to be slightly offset as they layer over each other. This gives the print an extra dimension of depth. Doing this is one of her signatures and she used two types of silks to achieve this effect. This one takes that concept even further with multiple layers used in its construction. The innermost layer is a silk twill that takes colour exceptionally well. This has been printed with the her customs design and then it is interlined in a layer of tissue silk. Then there is a layer of the palest pink silk chiffon that defuses the print between the top and bottom layer. The outermost top layer is a printed silk chiffon that gives the dress its light and airy feel and has a touch of transparency to it. The dress is suspended from the shoulder with two padded silk straps that curve up and over the shoulders. It dips into a wide flattened V at the front and scoops low at the back. From the neckline it cascades and skims loosely over the body, gently widening out until it reaches the hem. It is cut to be very long and I love how the pattern changes and gets more intricate as it nears the hem. Over this is a gorgeous little silk chiffon jacket. The sleeves are cut extra wide and have that same pale pink silk chiffon layer under the top layer. Slits run partway up the inner seam of each sleeve so that you get a very wide feel to them as you move your arms. The body of the jacket is loose and full with an inner pink silk lining and is cut to mirror the widening of the lower part of the dress. It has a high rounded collar and closes down the front with three large frog knots made out of the same silk chiffon over inner padding. It is a stunning example of her work and beautifully made. I have included a photo of the hand finished interior seams cut in the traditional couture manner. I love it. Excellent condition with a minor note below

The inner silk twill dress is interlined in tissue silk and then has two layers of silk chiffon over that. It closes with a back zipper and then each silk chiffon layer closes with her signature silk covered teeny snaps. The jacket closes with the frog knots at the front. The loose and easy bias cut should allow it to fit a variety of sizes. Hand finished throughout. Hand rolled edges. The very upper edge of the collar is starting to fray and I see the tiniest faintest of marks on the front that you would never see when on

Dress
Bust: to 21" flat across from side seam to side seam
Inner waist: to 17" flat across from side seam to side seam
Inner hips: to 21" flat across from side seam to side seam
Length: 60" from top of straps to hem

Jacket
Sleeves: 24"
Shoulders: 15"
Bust: to 21" flat across from side seam to side seam
Waist- hips: open
Length: 24" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# DD3589

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 dress that was sent to me by my couture client and this one was one that she had custom made for her for to attend an event in 1998. It is made out of a fine silk satin that has a slight sheen to it that goes perfectly with its icy blue tone. The colour is wonderful and in real life has a touch more depth and vibrancy to it. The photos are very close but it is even better in person. The dress is strapless and made to hug the bodice. It is completely boned and shaped inside and then the interior work is finished with a panel of the same fabric so that it is very comfortable to wear. The waist nips in and then the skirts very full and is cut so that the back is longer then the front for a grand, slightly trained, ball gown effect. The way that it is made is extraordinary. The silk has been set in seamed horizontal rows. Two for the bodice and four for the skirt. Within each of the rows the silk has been meticulously folded into wide set angled pleated lines that create a fascinating effect that runs over the entire dress. The skirt has several layers of attached underskirts that give the dress the shape that you see. I did not add any additional crinolines under the dress. The volume is all built in and it is fantastic. There is a spray of bead work done in silver thread and rhinestones at the waist for the perfect pretty finish. This would make an amazing bridal piece for someone not wanting to wear traditional white or as an alternate dress for an extended wedding weekend event. Excellent condition with a minor note below

Fully lined through the nodule and has full boning all the way around. It closes with a back zipper and the inner waist star hooks to close. There are multiple layers of skirting built in. Two silk layers finished with a stiffened label around the hem and then a multi-layer of tule between those. Some grubbiness to the inner hem only that you can see in the last photo here. It does close properly at the back - it was just a touch small on my dress form 

Bust: 16" flat across from side seam to side seam with room to a B cup
Waist: 12.5" flat across from side seam to side seam
Hips: open
Bodice: 10.5" from top of bodice to waist
Skirt: 44.5" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3590

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

Loris Azzaro launched his label in 1967 and quickly defined his trademark looks with colour, ornate beading, sequins, daring cut-outs and avant garde ways of defining the body. Some of the most beautiful women in the world wore his clothing including Marisa Berenson, Raquel Welch, Jane Birkin, Sophia Loren, Brigitte Bardot and Tina Turner. It was a label that defined sexiness and had a certain French flare that women world-wide loved. By the eighties he was experimenting with volume and proportions and new fabrics that at the time were all cutting edge. This is a killer example of his work during this period. 

This brilliant red dress is over the top, dramatic and an absolute statement piece that will turn every head when you walk into a room. On the wrong girl this would overwhelm but on the right girl it will be stupendous and become legendary for its audacity and boldness. It is just stunning. The bodice is hand draped into soft rounded gathers. It  is constructed to follow the curves of the body from the top of the neckline to below the hips. For the upper portion of the dress he has used a red jersey that has a touch of a metallic feel to it so that it has a liquid effect. Inside is his signature black strapless underwire bralet that is sewn into the dress for support. The bodice is shaped into a low sweetheart curve and the gathers run horizontally down the body. Vertical hand done seams were then added all the way around to give the gathers a slight scooped feel so. This ensures that they don't add bulk but are simply emphasize your curves underneath. The low set skirt is made out of a metallic red textured silk that is set over layers of built in under skirting. The fabric of the lower skirt is placed to give the effect that it is wrapped and fanned around you. On each outer side the panels of the skirt lift up and away from the dress. These suggest flames in their shape and the colour. The same fabric and flame-like effect is then used to create a fan of fabric on one side of the bodice and this flares out dramatically up and over the front portion of the shoulder. It is very dramatic and OTT. In person the red and fabric are a touch richer and more textured feeling then how they photoed. Excellent condition.

Fully lined in a red silk with a built in bra though the bodice that hooks to close separately. It closes at the back with a painted metal and nylon zipper. The interior bodice is boned. Layers of tulle and silk underskirts under the low set skirt. The flame/fan detailing on the bodice has stiffening fabric inside to hold it up and it does tend to fall a bit. It would be easy to add additional wire or stiffening inside if you wanted it to really hold tall. Hand finished throughout

Bust: to 18" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 52" from top of bodice to hem

Modern Sizing Equivalent: SML-MED

Item# DD3587

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 comes directly from the original couture client and is in immaculate condition. This is an exceptional example of Valentino's Haute Couture work that he was doing during the 1980s. It is one of a group of dotted red chiffon dresses that Valentino showed on the runway that season. Finding pieces from this time period in such immaculate condition is a rarity and I am very pleased to have this beautiful dress in the shop. I am also pleased to have found runway footage of the group of dresses that he did. The twin of this one was a runway piece and you just get the tiniest glimpse of it on the video I have added here. I have also included a gorgeous shot of Daniela Ghione wearing the dress that year. Style icon Nan Kempner was photoed wearing a different version of the dress which gives you another idea of how fantastic the dress will be on. It is an extraordinary and historically important piece of Valentino's couture work

This dress is divine. The lines of it are beautiful and as good as it looks on the dress form it is perfection on an actual body. The bodice of the dress is fitted and nipped in at the waist. It is cut in a sweetheart neckline that softly curves at the top and is strapless. The bodice is done in an extremely intricate manner. Panels of the silk chiffon have been cut on the biased and then shirred and diagonally crossed over each other to form that complicated pattern that wraps around the entire bodice. The little striped illusion effect that you see in each curving panel is actually the white dot in the silk hat has been meticulously lined up to precision with the one above and below. This painstaking pleating and gathering technique would have taken hours and hours to accomplish. This then forms a shaped bodice that runs down past the waist and molds over the top of the hips. From under that the skirt flares out to the floor and is made up of many yards of the same bias cut red and white dotted silk chiffon. The fabric is feather light so that your slightest movement cause the silk to flow around you. On one hip there are panels of silk that are set to run down that full side to give it an extra burst of volume and movement. The interior of the dress is made to couture standards with a full built in cupped corset that is boned and shaped to just past the waist. From under the bodice the skirt is made up of three full layers of silk; two of the dotted silk and a red silk inner layer. It is one of the most beautiful dresses I have seen and looks to have been worn very little if at all. It is an amazing example of his earlier Haute Couture work. Excellent condition. 

The bodice has a full built in boned corset made that hooks into place. The dress zippers to close over that. The skirt is made up of three layers as descried above. Done with Haute Couture construction techniques. Inner waist stay hooks to close.

Bust: 17" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: open
Length: 52" from top of bodice to hem

Modern Sizing Equivalent: SML-MED

Item# DD3588

Reference Photos: (1) Daniela Ghione in Valentino Haute Couture Spring/Summer 1986. Photo by Oliviero Toscani.  /  (2) Valentino Haute Couture SS 1986. Photo by Lord Snowdon.  /  (3) Model in Valentino Haute Couture, Vogue Italia, March 1986. Photo by Albert Watson.  /  (4-5) Nan Kempner at Barbara Walters's Four Month Wedding Anniversary Celebration at The Pierre Hotel in New York, September 1986.

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

At the age of 31, Stephane Rolland took over as Artistic Director for the Jean Louis Scherrer Haute Couture atelier, making him the youngest of the 20 official couturiers at the time. That was in 1997 and he remained as the head of the Couture division until the last showing in 2005 when the house officials shuttered is couture business altogether. This dress is from the Fall 2001 Haute Couture presentation and it is the actual runway sample that was worn on the runway. It was Look 7 In the presentation that day. I have included several runway reference photos for you so that you can see just how spectacular the dress is once on an actual body. 

Any Haute Couture piece to come into the shop is a reason to celebrate but to have the actual runway sample is even that much more amazing. The dress is a work of art and is entirely made by hand to Haute Couture standards with the added touch of all those last minute adjustments done to perfectly fit the model to walk the runway that day. This is an amazing opportunity to see what few see; a dress straight from the atelier, overseen and fitted by the couturier himself for its debut on the runway. The entire dress is made from multiple panels of a red silk gazaar that are hand set to overlap themselves as they cascade down the length of the dress. The panels gradually become larger is they run downwards over the dress to the train at the back. They cover the entire dress from the strapless bodice to the very end of the train. By layering the panels the dress has a sense of depth and texture then even the photos can truly convey. Each panel is secured to the base fabric just along its edges so that there is a movement and lightness created when it is on and you move about. The inner part of the dress is cut to above the knee so that you get a long flash of leg at the front. The rest of the dress flows back and around you from there. At the back the train is very long and dramatic. The bodice is strapless and here the panels are set so that they form a peak upwards on one side. The interior is corseted and structured so that it firmly holds the dress onto the body and gives you shape. This is an incredible piece of modern Haute Couture and would have been priced well into six figures when it was originally made. Excellent condition with one small note to review below.

Fully lined in a fine red silk and closes with two zippers. One is on the interior corset and the second is on the outer layer of the dress. The interior corset is boned and shaped. The skirt is lined in a red silk taffeta. Done with Haute Couture construction techniques. The hand written runway sample tag is present. There is some deepening of the colour/ marks on some of the squares of silk that make up the train and some minor grubbiness from being worn for the runway and then stored. Nothing that detracts once the dress is on. It is close to a true zero and will zip properly in the back on the right sized person. 

Bust: 15-15.5" flat across from side seam to side seam
Inner waist: 11.5" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Inner dress length: 26" from top of bodice to hem NOT including panels that go over the edge of the dress a bit above and blow the actual inner structure
Length including train to the very longest point:  Approx 92" from top of bodice to final tip of the train

Modern Sizing Equivalent: XXS-XS

Item# DD3054

Reference Photos: Fal 2001 Jean Louis Scherrer Haute Couture Runway Show.

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

Christian Lacroix launched his Haute Couture house in 1987 and his work was instantly revered world wide. He defined an era and he was crowned the King of Couture. A ready-to-wear line soon followed along with perfumes and menswear. His collections were always exotic and lavish affairs. He drew his inspirations from across the decades 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 comes to me from the original couture client. This is his main pink label that was still being produced in France at this point as opposed to later pieces that were manufactured elsewhere. It was very high end, expensive ready-to-wear that was made to near couture standards. For the Fall 1998 runway this dress was shown in a deep burgundy but my client purchased hers in this glorious all black version. 

The dress is classic Lacroix from his early years with all the high end drama we love about his work. The dress is sleeveless with wide straps that curve up and around the shoulder. The bust is meant to be fitted and the neckline is scooped at both the front and the back. There is a full built in corseted inner dress that is boned and shaped through the bodice and has extensive attached underskirts. It is attached all along the neckline and around the arms and then it falls under the outer velvet layer. The outer layer is made of a black velvet that is soft to the touch and very rich in feel. It is shaped with long vertical seaming to lie over the inner dress. On either side of the hip of the velvet layer the fabric has been gathered with extra long ribbons that you can use to adjust the length on the sides up or down as you wish. For the photos, I have put them up a little more so you can see the underskirt, while on the runway shot you can see that they styled it with one side a little longer than the other. I love that you can adjust it like that. The inner corset is made of a combination of taffeta, boning and a fine mesh netting. The entire lower portion of the skirt is finished with his signature gathered and puffed taffeta that gives it tons of volume. Each layer of the fabric is light but when all the layers, and the sheer volume of fabric that has been used, is combined the overall weight of the dress is substantial and it feels like a couture piece. The velvet at the back of the skirt is longer and slightly trained. There is a final gathered seam that runs from the mid-back to the centre of the back of the skirt's hem. For this one the ribbon ties at the top to add detailing there and again you can adjust it if you wish to be longer or shorter. You can see how stupendous this moves in the attached runway video of the burgundy version. This comes from one of his the original couture clients. Excellent condition 

Fully lined in a full corseted and skirted underdress as described above. It closes with a hand set side zipper on the inner dress and another zipper on the black velvet top layer. Each side and the back of the velvet layer are adjustable in length with the ribbons that you see. The interior corset is boned and the underskirt is made up of several layers for volume and shape. Tagged a 42

Bust: 17" flat across from side seam to side seam
Inner corset waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 11" from top of bodice to waist
Skirt: 59" from shoulder to front hem and the train at the back adjust to same length to up to approx 20" longer 

Modern Sizing Equivalent: SML-MED

Item# DD3585

Reference Photos: Fall 1998 Christian Lacroix 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 incredible dress is from the Fall 2000 Yves Saint Laurent Haute Couture collection and its twin walked the runway that season. The collection was lauded by the press. Marie Claire said 'Faithful to himself, Yves Saint Laurent has once again surpassed himself, without ever betraying the clean look that has become his signature.' The New York Times review by Cathryn Horn noted that the show was attended by ladies such as Nan Kempner who sat just a few chairs away from Catherine Deneuve and Lauren Bacall. Nan was seen in the audience saying 'fabulous' as the dresses paraded past. The Times review included remarks on all of the couture shows that season and said that the 'day belonged to Saint Laurent'. They also noted that "There have been a lot of Saint Laurent shows in recent years when nothing clicked and you thought, 'Okay, this is as good as it's going to get.' But the thing one realized the other day was how vast and deep are Mr. Saint Laurent's reserves of creativity compared with those of other, younger designers who blow themselves out early and then spend the next 10 or 15 years splashing around in the same puddle." This dress is exceptional and a rare piece from one of his final collections. That same NYT article also noted that during this time period, couture dresses had a start cost of $50,000 ($75k in modern dollars), and went up from there. This dress is sourced from the original couture client.  

The dress is exquisite and I love that you can see just how wonderful it is on the body from the runway reference photos that I have found for you. It is made from an inky black silk velvet with inset panels around the skirt. The sleeves are long and straight and the dress is cut to sit fully off the shoulders. This allows your entire upper shoulders to show. It skims over the body and the velvet lies over a fully built in inner corseting that gives support and keeps the dress perfectly in place. This inner corset is fully boned and closes with its own separate zipper. The dress skims over the body with vertical seaming all around for each panel that the dress is made up of. It is meant to sit so that your shoes show from under the skirt and this length also gives the skirt the best possible length to show off its fullness and the ingenious insets all around the skirt. Just below the hips he has inset panels that are made from knife pleated black silk netting. The are set in in such a way that each is very full. The result is that you get a stunning bit of volume through the lower skirts as these flare out around you and move when you move. They have a touch of transparency to them so you get a suggestion of leg showing as you walk. A wide silk satin ties at the waist for the perfect finish. Yves once said of the colour black "I love black because it affirms, designs, and styles. A woman in a black dress is a pencil stroke". The dress looks to have been unworn or worn very little and was sourced form the original couture client. Excellent condition  

The outer velvet layer is fully interlined in a fine black silk satin. The built in corset is boned and shaped. It closes with its own zipper and has an inner waist stay that hooks to close. The exterior layer closes with a hand set zipper. Done with Haute Couture construction techniques. The silk ribbon belt is not original to the dress. It appears to have been unworn or worn very little

Sleeves: 22"
Inner bust: 17.5" flat across from side seam to side seam
Inner waist: 14.5" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: approx 56" from natural shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3586

Reference Photos: Fall 2000 Yves Saint Laurent 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.

This comes from the same collection of couture pieces that I am handling at the moment for my client and all she could recall for this piece was this it was her mothers, it was from Chanel and that it was from the eighties, maybe early 90s. I have not yet found a photo reference for this one but when I do I will add it or send to the new owner. The set is incredibly beautiful on the body. 

The dress is stunning. It is made up of two separate pieces. The top piece is an inky black tabard that is made out of a rich soft silk velvet. At the front it is cut in a simple sleeveless sheath that has a subtle seam just under the bodice. The back dips into a low square to show a bare expanse of skin. Inside it is lined in a hand set heavy black silk that feels amazing against the skin. It closes at the side with a zipper but only to the top of the hip. Under that it is completely open on that side. You then wear the skirt under this and the skirt acts as a bit of coverage to keep the top layer from being completely scandalous. The skirt is marvellous. It is as light as air and made of alternating squares of a very fine netting with a lace flower woven through the netting. The squares are set on their sides so they become diamonds and the lace diamonds are offset with solid black diamonds made of a fine black silk. The skirt is meant to be worn under the velvet tabard dress so that it just peaks out along the side of the dress that has that extreme slit. This still leaves your leg completely exposed underneath right to the hip so it is very sexy but in an insanely subtle and refined manner. The skirt is very light in a weight and very beautiful. I love that they did the same amount of work on it all the way around for the entire skirt even though you only see that bit down one leg when the pieces are worn together. These are the types of extravagances that you find and fall in love with in true couture. It is stunning on the body. Excellent condition 

The tabard over dress is fully lined in a black silk and the skirt is unlined. Both pieces close with side zippers and the skirt has hook & eye at the waist band. All the interior work is done by hand to Haute Couture standards. It appears to have been worn very little if at all. Sourced from the original couture client 

Tabard
Bust: to 19" flat across from side seam to side seam
Seam under bust: 16.5" flat across from side seam to side seam
Natural waist: 15" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Bodice: 13" from top of shoulder to seam under waist
Skirt: 44.5" from waist to hem
Slit: 37" from hem up

Skirt
Waist: 14" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 43" from waist to hem
Slit: 17.5" from hem up 

Modern Sizing Equivalent: SML-MED

Item# DD3584

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 is held in the permanent archives of The Metropolitan Museum. It would not surprise me to find out that these were the only two samples of this dress in existence. True Haute Couture pieces were never produced in any significant quantities. The dress is as wearable now as it was when first made and feels very modern. It is entirely finished by hand and is from the time period when the house was run by Hubert de Givenchy himself. This is a wonderful and well documented piece showcasing Givenchy's work during this time period. I have included the dress that the MET has in the final shot here for your reference

The dress is made of a deep blue grey silk crepe. It is cut with a strong nod to the classic Grecian silhouette that leaves one shoulder exposed and bare. The construction details throughout the dress are exquisite. The bodice has been gathered by hand to create a series of soft pleats that run from the shoulder to the waist. These are set on a curving angle to follow the cut of the neckline as it works it way up towards the shoulder. The draping and soft pleat technique adds a beautiful detailing to the bodice of the dress. The waist is defined by a slim gold leather cord that wraps and ties to add shape. The skirt falls below this to the floor gently widening out a touch as it nears the hem. A second panel of fabric is draped over the skirt and set so that it angles softly down one side mirroring the angle of the shoulder. Slipping over this is a short cape that is made from the same fabric. It is cut on an angle to point down the front and the back and gives the dress a beautiful flowing feel. The colour is richer and deeper in person and on an actual body the entire dress really comes to life. Excellent condition with a few small notes below to review.

The dress is fully lined in a hand set blue silk of very high quality. There is a wide waist stay that hooks at the inner waist. It closes with a hand set, side painted metal zipper and from the waist down there are hidden set snaps that close the fabric of the skirt over the zipper. The bodice is lightly boned and there are small bust pads that are handset inside the bodice. The cape is unlined and slips over the head to wear. There are some light snags in the fabric here and there and some small areas pf darkening on the skirt overlay - the snags are most noticeably on the back of the skirt near the bottom - these are seen most when it is laid out flat but once on the color and placement make all of them negligible. Please see the two images after the label shots. All the interior work is done by hand to Haute Couture standards. Proper Couture tags on both pieces. Haute Couture tape label #55417

Dress
Bust: to 17" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: 15" from top of shoulder strap to waist
Skirt: 42" from waist to hem

Cape
39" from neck to longest point of hem

Modern Sizing Equivalent: XS-SML

Item# DD2767

Reference Photo: 1973 Givenchy Evening Dress from The MET Collection.

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 New York times said of this collection at the time; 'Yves Saint Laurent did it. With sophistication and authority in his collection for spring and summer, he gave validity to couture, the high end of the fashion industry. There was no desperate groping: this is the way the most expensive clothes in the world should look, he seemed to say. As the showings sailed into their final days, he re-established himself today as the king of couture." after their review of the day and suit looks they continued to say; "Preliminaries over, he was ready for evening dresses, the serious business of couture. His unerring eye for color came to the fore....One-color dresses were also effective, in fuchsia, bright blue or rose. Rarely did he resort to embroideries...His effect was achieved through line and cut." The review ended with this lovely sentiment; 'Saint Laurent knew his show was a success. "The couture lives," he whispered backstage after it was over. His mother, Lucienne Saint Laurent, told him he had never done better. He seemed to agree. It is rare for a designer to reinvent himself at the age of 56, the way Saint Laurent had just done. The show recalled his glory days in the 1970's, when he set the guidelines for couture and the rest of fashion. He has now done that for the spring of 1993." 

This particular style dress has incredible provenance. On the runway this dress was shown in a darker, more subdued blue and I have those runway shots here. The twin of the runway dress is held in the Met Museums' collection in both a red and the darker blue. The blue one in their collection was donated by Annette de la Renta and the red belonged to style icon Nan Kempner. There was another darker one produced for Catherine Deneuve who wore it to accept the Cesar award for Indochine. Such an incredible amount of history tied to the dress and it is exciting to have such a full and varied picture of who else ordered and loved the dress.

My client had the dress made in one of the brighter blues that was used elsewhere in the collection that year and I love it in this brighter bolder color. The dress is cut to leave one shoulder completely bare. Both sides have long slim sleeve and there is a panel of the same silk gathered along the top of the shoulder that then swoops down over the bodice and the back. That draped panel is very full and I love how it drapes over the sleeve on that side. The inner details here show is the genius of couture. The zipper on that side is set so that is softly curves under the arm and runs down the top of the inner sleeve. That way the person wearing the dress does not have an uncomfortable zipper pull right under their arm. It also keeps the sleeve perfectly in place despite the absence of a shoulder. The waist is seamed and detail by a matching, hand dyed silk satin slim belt. The skirt falls the the floor under that, gently widening out as it nears the hem. The side opposite to the bare shoulder has a very high slit so that you get a flash of leg as you walk. It is stunning and in person the colour is a touch richer and deeper then how it photoed. The silk also has a slight texture to it that adds detailing in person that the camera does not quite convey. This is a wonderful example of how strong his tailoring was in evening wear and an important piece fromm a collection hailed as a triumph. Excellent overall condition with a small note below

Fully lined in a fine blue silk. Done with Haute Couture construction techniques and closes with a hidden set side zipper under the arm that curves up and into the sleeve as described above. Inner waist stay hooks to close. The fabric is cut on the bias so there is some give. There is a slight fading along the top of the shoulder and down that same sleeve. Please see the two photos after the reference shot. It is light and because of the placement once on it is barely seen. The hem has been let down at some point. The belt is original to the dress and is in excellent condition 

Sleeves: 27"
Bust: to 19" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Bodice: 18.5" from top of bodice to waist
Skirt: 43" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3582

Reference Photos: (1-2) S/S 1993 Yves Saint Laurent Haute Couture Runway.  /  (3-4) S/S 1993 Yves Saint Laurent Haute Couture Dresses from The MET Online Collection.  /  (5-6) Nan Kempner in Yves Saint Laurent, May 1993.  /  (7-8) Catherine Deneuve receives the César of the best actress 1993 for her interpretation in the film of Régis Wargnier "Indochine", March 08, 1993.  /  (9) Maxime, Loulou & Lucie de la Falaise in Yves Saint Laurent.

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 version of this dress in the past in a paler icier blue so when I saw this one with it's deep sapphire blue colour I had to have it for the shop. It is a beautiful and romantic bias cut silk chiffon dress by the great American couturier Oscar de la Renta. It is constructed from multiple layers of a lightweight, slightly textured, silk chiffon in the most stunning deep sapphire colour. The bodice of the dress is gathered in an elaborate ruching of silk that meets in the center in a thick braided detailing. This runs down the centre of the front of the bodice. The strapless neckline above that is cut into a rounded sweetheart shape that is very flattering. The bodice is fitted and cinches in at the waist with interior boning to help hold the shape. The skirt cascades to the floor at the back and at the front it curves up higher so you get a flash of leg when you move. It is made up of three full layers of weightless silk chiffon that float over and around the body to give it the feel of airiness and lightness. The lightness of the silk gives it a billowing effect when you move and walk that is stupendous. A really lovely and romantic dress in one of the best blue colours I have seen. Excellent condition

The dress is fully lined through the bodice in a hand set blue silk and the three layers of silk chiffon the skirt is made of serve as its lining. The dress closes with a side painted metal zipper. Hand finishes. I see one tiny area on the side off the skirt that has darkened. 

Bust: 17.5" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: open
Length: 48" from top of strapless dress to back hem, 37" to the front hem

Modern Sizing Equivalent: SML-MED

Item# DD3583

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 long version that was made from two pieces shows for the resort runway for that season. You can see the same top of the green dress here and then the same red silk organza used on the the second dress we have induced for reference. Combining the two elements and making the skirt full length results in this gorgeous dress. 

This is a stunning example of Ferrertti's more recent world and a very pretty dress. The red has a touch of a coral tone to it and the fabric choice gives it a light and romantic feel. The bodice and lower skirts have an extensive paneling of an embroidered, open cut owrk lae feeling fabrication. It's pattern combines different sized flowers that are layered over each other with  parts of the design open. On the top this is set to engine down on north he front and back with the silk red silk on the side.A bide coloured mesh sits behind the plunge at the front so you get the illusion of a deep neckline but it is very secure and safe. At the back there is a little option start of fabric that you cansnap into place or fold that back as I have for a deeper more open plunge. It nips in at the waist but with a slightly generous feel and then the skirt is full and falls to the floor under that. The entire bottom half fo the skirt is covered int hat same embroidery work as the top. It is a very pretty dress and has a touch of a vintage feel to it. Its very soft and romantic and feminine. It appears to have never been worn or worn very little. Excellent condition 

Fully lined in a red silk and closes art the back with a hidden set zipper. Tagged a US6. It appears to have never been worn or worn very little.

Bust: to 18" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Inner hips: to 21" flat across from side seam to side seam
Bodice: 16" from shoulder to waist
Skirt: 44.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3578

Reference Photos: Resort 2015 Alberta Ferretti Collection. Model: Josephine van Delden.

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

The Nina Ricci Haute Couture house was founded in 1932, at 20 Rue de Capucines in Paris and became one of the pre-eminent couture ateliers in the world. In 1964, Gérard Pipart succeeded Jules-François Crahay, Nina Ricci's former designer assistant who took over the atelier in 1954. Over the following three decades, his Haute Couture vision "celebrated a flamboyant woman and his ready-to-wear found a loyal following among the most stylish women of the day."

This dress is a wonderful example of Pipart's vision for the house and is a stunning example of the work that the atelier was producing during this time period. The dress is made of from a fine silk chiffon that has been dyed to the perfect red. Every stitch is done by hand and the hours that would have been put just into the hand rolling and stitching of all the edges on the various layers on the skirt alone is mind-boggling. The skirt is made of four full layers of bias cut silk that is layered over each other in cascading tiers of fabric. Each layer is cut to curve up slightly at the front and dip down longer at the back. The layers of silk create a beautiful sense of movement and lightness when you move. The bodice is beautiful. It is densely beaded by hand in a pretty floral pattern all the way around from front to back. Tiny silk straps curve up and over the shoulders. Along the very top edge of the neckline at the front is an attached panel of silk chiffon that wraps up and around the neck leaving the silk to trail down the back. This little extra detail creates a bit of high drama and intrigue to the design. The scarf is original to the dress but may have been attached at a later date. It would be an easy job to unattached it and have it as a separate piece again if you wished. It is stunning in person and on the body. Excellent condition with one small note below.

Fully lined in red silk chiffon and closes with a back hand set zipper. Finished to Haute Couture standards and entirely made by hand. There are two small areas of a darkened spots on both sides of the attached silk panel. Please see the two photos after the label shot. Depending on how this is tied and styled it does not necessarily show and if was unattached again you would have the option to not wear it with the dress. The proper Haute Couture label is present.

Bust: to 16" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: open
Bodice: 16" from neck to waist
Skirt: 40" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2369

Quote and historical info on the house is taken from the Nina Ricci Website

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 October 1997, the first women’s ready to wear collection under the Narciso Rodriguez label was presented in Milan for the spring 1998 season. Rodriguez was awarded 'Best New Designer' at the Vogue/VH1 Fashion Awards in New York and the 'Perry Ellis Award' for best new designer by the Council of Fashion Designers of America that same year. He was the first designer ever to receive consecutive womenswear designer of the Year awards by the Council of Fashion Designers of America in 2002 and 2003. Countless other awards and accolades have been awarded to him as well. He also designed the bias-cut wedding dress that Carolyn Bessette wore for her marriage to John F. Kennedy, Jr. and Michelle Obama chose to wear a dress from the designer’s spring 2009 collection for her husbands victory as present and his first State of the Union address. You may remember seeing Claire Danes in a shorter version of this same dress for the 2012 Tribeca Film Festival. This one is a more evening version and my client had this one made for her by Rodriquez that year. As far as I am aware it was a bespoke piece and it is the only one in existence. It is a stunning example of how amazing of a designer he is. 

The dress is absolute perfection and showcases his talent for the bias cut that is meant to flatter a woman's body but never in a way that is too tight. Rather it just skims over your curves and is so very flattering. The dress is completely cut on the bias and made from a heavy deep fuchsia pink silk crepe. It has that minimalist tendency to it that he is so well known for with a crisp and elegant result. The bodice is cut with his signature bra cut top with a curving black silk panel set so that it scoops under the breasts. It then extends upwards to curve over each shoulder and down the back into a deep scoop. Inset above the black is a top stitched pink bit of silk. The dress flows past the waist from under the black with no seam to break the eye. It is cut on the bias so simply flows perfectly to the hips and then sweeps to the floor. Just above the knee on the skirt inset panels have been set in all the way around the lower part of the skirt. These give the lower skirt the shape volume you see. It moves and flow around you beautifully when you move. The back is cut longer into a slight train that flows behind you. It is absolutely stunning and pristine. The photos come close to the actual color but in person it is even better with slightly more depth and richness. Excellent condition  

Fully lined in a matching silk and closes with a back zipper. The zipper has a bit of a 'stick' feel to it when you close it. Appears to have never been worn or worn very little. The bias cut should allow it to fit a range of sizes

Bust: to 17.5" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 64" from top of shoulder to front hem, 74" to the back

Modern Sizing Equivalent: XS-MED

Item# DD3576

Reference Photo: Claire Danes in Narciso Rodriguez at the 2012 Tribeca Film Festival.

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 cut of this dress is a very flattering one shoulder silhouette. The base fabric is a light silk that is cut on the bias so that the dress drapes and molds over you to skim and highlight your curves without having a super tight fit. This makes the dress extremely comfortable to wear. The one side curves up and over the shoulder where it hooks into place with a trio of hooks & eye. From there it curves gracefully across the back. The dress falls to the floor with a high slit running up one side so that when you move you get a flash of leg. The sequins are set flat and side by side onto the fabric in long vertical rows. They are an iridescent pink and catch the light at the slightest movement. Worked into the sequins are little graphic triangles that run in a line down the full length of both sides of the dress. The hem and neckline are edged in a band of silver tube beads. Each of the triangles are also edged in a double row of those same silver tube beads and the interior of each triangle has a pinky-coral glitter fused directly onto the silk. The glitter parts are actually multi-coloured and this creates a touch of a holographic feel to them. It looks to have been worn very little if at all. Excellent condition

Fully lined in a pink silk. It closes with a metal and nylon side zipper. It is tagged a vintage 8. It looks to have been worn very little if at all.

Bust: to 17" flat across from side seam to side seam
Waist: to 16" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 57.5" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3401

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

Tina Leser opened her first shop in 1935 and became known for her use of fabrics curved from far off locations. By 1944 she had been awarded the Coty award. In 1948 she took a trip around the world and the places that she went influenced all of her future collections. She loved to take a fabric that was seen as being for casual wear for this time period and using it for evening wear or vice versa. The Tina Leser Originals label launched in 1953, closed in 1964 and then re-opened in 1966.. This is one of the best pieces I have seen from her and is truly a spectacular example of her work. 

More then anything I love the extreme sleeves on this dress. The are truly spectacular. Each sleeve falls to past the knee. It is shaped like a normal sleeve from the shoulder to the elbow and then extends down from there into those long slit panels that you see. These give the dress a wonderfully exotic feel and they create tremendous movement when you move. They are also lined in a soft pale blue to offer contrast against the exterior fabric. The fabric that the dress is made of is equally stunning. It is actually a beautiful light silk voile that is entirely covered in the print that you see. The pattern is fantastic. The intricate design covers ever square inch and you can see how it incorporates that same blue that lines the inside of the sleeves. The front has a high neckline that is detailed with a collar of hand cut out flowers in two sizes. These are then hand placed around the neckline so they form a wonderful 3D effect. The dress falls from there in a generous cut that is meant to just skim over the curves with just a suggestion of shape at the waist. It widens out gently as it nears the hem and there is a high slit set off side at the front for a bit of leg to flash when you walk or sit. It is gorgeous. It appears to have never been worn or worn very little. Excellent condition.

Fully lined in an orange silk through the body with a wide band of blue silk around the inner edges. The lower part of the sleeves are lined in a soft blue silk voile. It closes at the back with a painted metal zipper. In person the dress has a slightly paler, softer feel to the overall colour. It is even better in real life. 

Sleeves: 42"
Shoulders: 15"
Bust: 19" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: 21" flat across from side seam to side seam
Length: 59.5" from neck to hem
Slit: 31" up from hem 

Modern Sizing Equivalent: SML-MED

Item# DD3575

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

This is a lovely dress by Reem Acra who for twenty years has been producing ready to wear and bridal collection. Her pieces tend to combine traditional elements with modern aesthetics and her work can be very beautiful. This was shown on the Spring 2006 runway with a slightly different bodice and then a version with sleeves and upper shoulders was used for the Bridal campaign ads that year and that one matches the bodice of the one I have in the shop today. 

The dress is very simple in cut and very flattering. It is made out of a pale silver grey silk chiffon through the skirting and then the bodice is a silk satin that is covered in a combination off seed beads and prong set rhinestones. The strapless bust is set in a high empire line and it is meant to be fitted and just cover the breasts. It is boned and formed inside to created that banded effect and to keep it in place. On to this is a lovely and intricate design that covers the entire bust all the way around. The design combines the tiniest of silver seed beads with small rhinestones. These catch the light and add a bit of glamour against the grey silk chiffon. Under the bust the skirt falls to the floor in a cascade of silk chiffon. It is feather light and made up of multiple layers of silk. There are two top layers of silk chiffon and then under that are two more layers of a silk dyed to the exact same colour. There are lots of little details that portray its high end origins. Each of the two pairs of layers of skirting are attached by little slips on the side so they hang perfectly in place. And at the back each layer closes with its own zipper and closure. It is very beautiful and even better in person as the camera doesn't quite capture the right shade of soft grey that it is or the glimmer of the rhinestones as they catch the light. It appears to have never been worn or worn very little. Excellent condition

Has a built in inner corset through the bust that is boned and closes with a back zipper. Another zipper closes a layer over that and then the outermost layer snaps into place. It appears to have never been worn or worn very little.

Bust: to 17" flat across from side seam to side seam
Seam under the bust: to 16" flat across from side seam to side seam
Hips: open
Bodice: 5.5" from top of bodice to waist
Skirt: 46" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3573

Reference Photos: (1-2) Spring 2006 Reem Acra Runway Collection.  /  (3) 2006 Reem Acra Bridal.

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

My couture client purchased this set in the spring of 2004 and it is a beautiful example of his work during this time period. This is one of the pieces made for retail sale that season and has many of the hallmarks we know and love about McQueen's work. Lace was used throughout the collection that year. Vogue said of the runway show; 'McQueen's signatures—elaborately pieced tailoring (now beautifully softened with delicate inserts of lingerie)... did star turns' and the this set lives up to that and more. 

Both pieces are made from a black silk taffeta and the top is detailed across the shoulder with a fine gossamer black lace. The skirt takes it reference from many of the cuts seen in the spirited dance show that the collection was presented with for that season. If you look through the photos of the show, you see many skirts were cut with this hip hugging silhouette that then flared outwards at the bottom skirting. On this set the flare is at the back with the front cut to be more of a sleek pencil shape. But when you turn to the side or around, you see that the silk hugs the bum and then flares out quite dramatically on either side at the back. The top showcases more of his elaborate and genius tailoring. It is cut and shaped by a series of vertical curved panels pieced together all the way around the body. It buttons down the front and has flap pockets set on each hip. The entire top of the shoulders and the capped sleeves are made out of a fine black lace that allows a glimpse of skin through its elaborate design. A wide grosgrain ribbon wraps around the top edge of the corseting and finishes with a neat flat bow at the front. The fabric choice gives it shape and holds the intended silhouette and the femininity of the lace is the perfect contrast against that sharp tailoring. This is Mcqueen at his finest and a stunning set that is even better once it is on an actual body. It appears to have never been worn or worn very little. Excellent condition. 

Both pieces are lined in a black silky rayon. The skirt zips to close with a hidden set zipper and the top buttons down the front. Note that it was a little small on the dress form and does button properly once on the correct size person. The skirt is tagged a 38 and the top is tagged a 40. It appears to have never been worn or worn very little. The entire set is a true black in person 

Top
Slightly dropped shoulders: 17"
Bust: 16" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Length: 23" from neck to hem

Skirt 
Waist: 14" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Length: 23.5" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3572

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