The twin of this dress appears in the book on Thea Porter's work that accompanied the exhibit on her work. The photo appears on page 73. The caption in the book notes that "Claudia Bruce wearing a peasant style dress in a Persian paisley print combined with Damascus fabric and a leather and feather headdress. Greeks Street, London, 1969.". It is so rare to find runway photos of her shows and to have all this extra information is fantastic. 1969 is also an interesting year to note because it is the year that she started to sell her designs at Giorgio Beverly Hills. It was said that when word got out that Thea had new things in the Girorgio boutique, women ran to be able to get a piece for themselves, they sold out that fast. This is the only one I have ever seen like this outside of that book photo. Given her extremely limited run on certain pieces it may in fact be the only other one that was made and exists. It is truly a very special piece.

The dress is a fantastic combination of fabrics and this was something that Thea excelled at. She had the ability to source these fantastic antique fabrics and then mix and match them to put them together in a way that you had never seen done before. The front panel combines a floral and paisley print with beautiful detailing between. It runs down the front in a long rectangle shape and then she curved it over the shoulders and ran another panel of it down the back. The rest of the dress is made out of a clay coloured silk organza that has a beautiful pattern hand embroidered over its surface. A little chain of white embroidery runs through that pattern for a little bit of a pop. At the end of each sleeve there is an insert of the cotton fabric. This is set in a wide band all around the cuffs with these little points running up into the sleeve. The shape of the dress is easy and comfortable to wear. It skims over the body and flares out slightly as it reaches the hem. Slits run up each side so you get a flash of leg when you walk. Each sleeve is fantastic. Each is a full and voluminous balloon type sleeve that puffs up extravagantly around each wrist. The collar on the dress is perhaps the best part. A tie loops through the front part only and for most of the shots I have tied it enough so that it scoops like it does in the runway shot. However, you can loosen the front up and that allows you to push the dress down the shoulders to expose a full expanse of bare skin across the top of the shoulders. It is phenomenal. This is a very rare example of her work and most likely you will never see one again. Excellent condition.

Unlined and slips over the head to wear. The front collar can be adjusted with the tie as described above. Each cuff has a snap to close. It appears to have been worn very little if at all. There are little bits of blue dye on the front and back panel that looks like it has run a touch but I believe this is inherent to this fabric and this may have been like that since the day it was made. I do not think it is a flaw, but rather a result of the fact that the fabric was hand screened. Tagged a vintage Thea Porter UK 10. The easy cut should allow it to fit a range of sizes.

Sleeves: approx 15" and will come up a touch when the cuff is closed. Each upper arm is 13.75" around
Shoulders: no true defined scene
Bust: to 19" flat across from side seam to side seam
Waist: to 18" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Total length: 54.5" from top of shoulder to hem with 2" turned under the hem

Modern Sizing Equivalent: XS-SML

Item# DD4899

Reference Photos: Claudia Bruce for Thea Porter. Greek Street, London, 1969. (2) From the book Thea Porter: Bohemian Chic.

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This is the second time I have had a version of this dress in the shop and I love it even more this time around in this deep brown colour. This version of the Thea Porter label was only produced between October 1971-March 1972. Laura McLaws Helms, the author of the book "Thea Porter, Bohemian Chic" verified that it was from the Fall 1971 collection. Some of her pieces are so difficult to date and I love having the date on this wonderful dress. 

This is a beautiful example of Thea's work with a brown cotton gauze base that has pink and ivory diamond medallions scattered over its surface. The fabric has a touch of sheerness to it and it is unlined through those incredible sleeves to take full advantage of that. The front dips down in a V and the bodice is fitted over the bust. The waistline sits a touch high for a slight empire waist feel. The skirt flows down and out from there and I love the wide set flat pleats that give it fullness when you move. Each sleeve is cut with a wonderful fullness that widens to a puffed balloon shape over its elastic cuffs. The sleeves really add a sense of drama to the dress. Running horizontally over both the sleeves and the skirt are wide cut lace panels. These are set to circle around each sleeve and just above the bottom hem of the skirt. I love the pretty touch this adds. I personally own the twin of this dress and it is a favourite. Excellent condition

The top is fully lined in a brown silky rayon and the skirt is unlined. It closes with a back painted metal zipper. Each sleeve has elastic in the cuff. Tagged UK vintage 16 but it cut small. Please refer to the measurements below.

Sleeves: approx 25"
Inset shoulders: 12.5" with the natural shoulder falling under the fabric of the top of the sleeve
Bust: to 18.5" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Hips: open
Bodice: 13.5" from top of shoulder to waist
Total length: 55" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4897

Reference Photos: Cherie, Owner of Shrimpton Couture, by Erin Leydon.

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

When dating this extraordinary Yves Saint Laurent dress, we found a photo of a piece with almost an identical cut bodice from 1972 along with several runway photos that show other pieces with that same cut to the bodice. I have included those here for you and it is interesting to note that the pleating technique that is used around the upper hip of the skirt was also done in a more intricate fashion for the 1974 Couture show. Yves often use ideas from both collections. - Rive Gauche and Couture - to build and develop ideas and it is fascinating to see the progression of his work from garment to garment. This is an incredibly beautiful example of his work from this time period.

This dress combines a floral silk chiffon with a muted red silk on the skirt. This combination is absolutely gorgeous. Is combination of silks give the dress just enough weight and structure to be able to create the impressive lines and volume that you see but while still making it feel soft and romantic. The colours are spectacular. The top is a printed silk chiffon, and it has a stunning floral pattern in red purples and greens that float over the entire bodice and the sleeves. The bodice is cut to skim over you and the waist nips in. It plunges at the front and crosses over itself, and the neckline has been detailed with ruffles that begin at the back of the neck and circle around to follow the V at the front and then run down to the waist. piping in the same fabric detail. The waste and ties have been left off to the side to hang down and create a pretty little detail. The skirt falls to the floor from there and it has yards and yards of fabric in it that creates the fullness and volume that you see. The skirt falls in a gently widening line and is quite full by the time it reaches the hem. I love the volume that this type of fabric creates and how it billows around you as you move but at the same time it is as light as a feather. Around the entire upper hip area, and starting at the waist or a series of tiny cleats that gradually open out to create the volume underneath. This intricate detail is a beautiful addition to the dress. The sleeves are outstanding. Each is a single layer of the silk chiffon and are wide and very full. They are caught up at the wrist with a circle full circle ruffle underneath. This creates a beautiful and dramatic finish to the top. I love everything about this dress. Excellent condition.

Fully lined in a red silk and closes at the back with a hidden set painted met zipper. Attached ties at the waist and elastic in each cuff. The silk skirt and the exterior layer is a tool ruffle that helps keep the volume through the skirt. Tagged a vintage YSL 38. I see some light marks around the hem of the skirt.

Sleeves: 24" and 14" around the upper arm
Slightly inset shoulders: 14.5"
Bust: to 18" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 16" from neck to waist
Total length: 62" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4665

Reference Photos: Fall 1972 Yves Saint Laurent.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This amazing little jumpsuit was designed by Belgian-born Jules-Francois Crahay, who headed the Lanvin ateliers from 1964-1984. He has been noted as one of fashion’s 'great colorists with his colorful patterns making his 1970s Lanvin designs hugel​y ​desirable and influential.' His time at the Lanvin label is one of my personal favourites for the house. I especially love the his work during the period through the late sixties and into the early 1970s. He was a genius at print and colour and he pushed the envelope in terms of using cutting edge fabrics available during this time period. I think that this was his way to play homage to the Lanvin Parfums ads from the mid 1950s. I have included some of those just for your reference to enjoy.

I have seen some vintage Lanvin dresses in the past that have a small bit of the clown print incorporated into them but this is the only piece I have ever seen that has the print completely covering it head to toe. This is the kind of piece that you were only ever going to find in vintage and it is so special. It is made out of a knit jersey that is printed with that fantastic clown and circus print on every inch of it surface. The fabric choice makes it extremely comfortable to wear and it drapes and falls incredibly on the body. It is all one easy piece and you just slip it on to wear. The neck line is scooped and the sleeves are long and simple. There are darts to shape it a bit around the bust and then the waist is seamed and cut a little more on the generous side. The jumpsuit comes with its matching tie belt in the same fabric which lets you cinch it in as much as you like. From there it skims over the hips to long pant legs that are cut wide and extraordinarily full. As they reach the bottom hem they are a full 55" all the way around. When you are standing still this gives the appearance that you are wearing a dress but you still have the ease and comfort of a jumpsuit. I took a photo of it laying out so you can see how spectacular the lines of this are. It is a fantastic little piece of fashion history and yet still so easy and comfortable to wear. Excellent condition with a minor note below.

Unline and closes at the back with a zipper. A matching sash ties around the waist. I see a couple of little marks, tiny minor fading and one little nick out of the fabric on one leg. Because of the extensive print you would never see any of it until you laid it out and look carefully. Please see the photos after the label shot.

Sleeve: 23"
Shoulder: 15"
Bust: 17-20" flat across from side seam to side seam
Waist: 13-14" flat across from side seam to side seam
Hips: 20-24" flat across from side seam to side seam
Bodice: 16.5" from top of shoulder to waist
Total length: 59" from top of shoulder to hem with about 1.25" turned under the hem
Inseam: 30"
Torso: 31" from back of neck to inner seam

Modern Sizing Equivalent: SML-MED

Item# DD4896

Reference Photos: Lanvin Perfumes Ads, 1956-59.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

During John Galliano's years from 1996-2011 at the house of Christian Dior he arguably produced some of the most amazing bias cut and chiffon dresses in the house's history. His work often has a feeling of the decadence and abandonment of the twenties and thirties with their beautiful cuts. This is an amazing example of his work from the Cruise 2010 collection and it is gorgeous. "For Resort, Galliano had a series of softly draping floor-length evening dresses." said Vogue's review and that "Galliano's light touch...made the retro shapes look modern". A near twin of the dress in beige was a part of the presentation and then this is a dress was made for the shops in this stunning colour. It is so classically Galliano for Dior in its shape and cut. It is a real beauty.

The dress is made out of the prettiest pink silk chiffon that has a touch of texture running through it. It is all cut on the bias which is one of his key signatures. The bodice is beautifully cut. Twisted silk chiffon straps made of the same fabric curve up and over each shoulder and then they extend into the panels that go over the front. They crossover each other and this gives the dress that fabulous plunge. It drapes over the bodice and comes in at the waist. From there the dress drapes the the floor widening out as it nears the hem. At around the knee there are these long, triangular shaped panels sewn into the lower skirts. This is what gives it that the volume that you see. The seaming is a nod to the work you see from the twenties and thirties. The panels help to hold that pretty volume through the lower skirt and the lightness and incredible amount of fabric through the skirt gives you so much movement when you walk or move. It is stunning. A signature row of tightly spaced silk covered buttons run up one side for the perfect finish. The dress is even better in person and on the body as the static photos cannot fully convey how the dress moves once on the body. Excellent condition.

Fully lined in a matching silk and closes at the side with a hidden set zipper with a series of silk covered buttons over it. There is an extra 5 inches of the straps inside the back so you can adjust them to the perfect fit if needed. Tagged a vintage Dior F38, GB10, IT42, US6

Bust: 15-17" flat across with no true side seams
Waist: to 14" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Bodice: 8" from shoulder to seam under the bust
Total length: 62" from top of the shoulder to the hem

Modern Sizing Equivalent: XS-MED

Item# DD4627

Reference Photos: 2010 Cruise Christian Dior Collection.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

The twin of the dress was Look 34 in the Resort 2016 lineup. The show was designed by Peter Copping and if you count the bridal collection that he did for the label, this was his third show since being appointed Creative Director at that time. In the Vogue review they noted that Copping stated: "I wanted to embrace color, pattern, and the house's general joie de vivre." And as promised, the clothes were bright, generous with embroideries, and blooming with flowers and ruffles.' They went on to rave about the evening pieces saying that "they captured De la Renta's flair for drama but retained a youthful, playful spirit." This was the second last look of the show and for me, it was one of the strongest. It is an incredibly beautiful dress and a highlight from Copping's time at the label.

This is a dress that instantly captures your attention and I feel like the colours in person are far more striking than how they photoed. There is a richness and depth to them that wasn't quite captured on the camera. The top is strapless and made out of a deep pink silk. It is caught to hug the body and has one of his signature built-in boned and wire cupped corsets inside. I love how the cups at the front have an extra panel of the pink silk set over them. This gives the illusion of a slightly larger bust and also adds a bit of an old Hollywood feel to the top of the dress. At the back it curves beautifully around you. The waist is cinched for shape. On the runway, they showed it with a belt and as far as I am aware that was sold separately. I think the dress works perfectly well on its own without one, but it would be very easy to add a belt if you wanted more shape. The skirt skims over the hips below that and then falls to the floor in a fairly straight column of a spectacular emerald coloured silk. Running down the front on each side is a trailing floral and vine pattern. The vines are made from a thick raffia cord in a deep blue that has been embroidered onto the silk. The flowers are elaborately done and made from deep blue sequins and beads in various shapes and sizes. They are set so that they set up and off of the skirt for the gorgeous 3D effect. There is a high slit that runs up the back of the skirt to allow you to walk comfortably and show a flash of leg. The dress has its original hang tag in place, in its original uncut length and was never worn. It is phenomenal. Excellent condition.

The dress is lined through the bodice in a matching pink silk and has a built-in corset that is boned and cupped. The skirt is lined in a matching green silk. It closes with a hidden set zipper at the back and the inner corset closes with its own zipper.  An inner waist stay hooks to close. Ribbon edge finished inner hem. Tagged a modern ODLR 8.

Bust: 16.5-17.5" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Hips: 19.5" flat across from side seam to side seam
Bodice: 9.5" from top of bodice to waist
Total length: 56.5" from top of bodice to hem with just over 1.5" turned under the hem
Back slit: 26" from the hem up

Modern Sizing Equivalent: SML-MED

Item# DD4894

Reference Photo: Resort 2016 Oscar de la Renta, Look 34.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This is a piece that would have been made in limited quantities for the shops and it is spectacular. It also has the significance of being from the final few years that Mr. Valentino was still designing before he retired. It is incredibly beautiful and it might even make an amazing wedding dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. And of course it could also be worn to any event.

This soft romantic pink silk chiffon dress is stunning on the body. The layers of chiffon float over each other to allow it to drape beautifully over the body and highlight your curves. The bodice is finished with tiny and precise pleats. A panel wraps around the top of the bodice to tie at the back. Two more panels of silk are set below that on angles that cross over each other. At the side all three panels extends into long ties that you wrap and tie across your back. It ties behind the neck and then there is a final little tie at the small of your back. I love the bareness this leaves on your back. It is romantic from the front and sexy from the back. A little panel of chiffon floats around the hips and then the skirt falls to the floor. A slit runs up the front of the skirt for a flash of leg as you walk. The skirt is made of three layers of silk chiffon stacked over each other and this lets the skirt float around you as you move. It is cut slightly longer at the back so that you get a pretty sweeping feel behind you. The fabric is feather light. It is in its original uncut length. It is incredible and I love it. Excellent condition.

Fully lined with pink silk chiffon and closes with a hidden set zipper at the low back waist and ties in place above that. It appears to have been worn very little if at all. Tagged a vintage Valentino 8. The ties make it adjustable, so this should fit a range of sizes

Bust: 15-16" flat across from side seam to side seam and adjustable an inch or two from there with the back ties
Waist: adjustable with tie 
Seam at the top of the hip/ low waist: 15" flat across from side seam to side seam 
Hips: to 19 flat across from side seam to side seam
Length: 62" from neck to front hem, 75" to the back hem

Modern Sizing Equivalent: XS-MED

Item# DD4602

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

In 1952, Givenchy founded his namesake house on Rue Alfred de Vigny in Paris and quickly rose to fame as one of the grand couturiers. 16 years later for the 1968-69 season, he added a ready-to-wear line of clothing and accessories called 'Givenchy Nouvelle Boutique'. The line was initially sold in the United States exclusively through Bergdorf Goodman stores and was eventually available at other retailers as well. The line was high end and extremely well made. He launched this line to expand his customer base and it made to appeal specifically to his non-couture clients. This label continued until 1992. This dress has the Givenchy Boutique label without the Nouvelle added and as far as I am aware this label was usually reserved for special orders that were made in the atelier and then shipped to the client without any Paris fittings. All the ones that I have ever seen are machine stitch for the main long seams and then hand finished throughout otherwise. This dress is made exactly like that and it could not be more gorgeous.

This is the kind of dress that makes my heart flutter when I see. I love this particular silhouette from this time period and this one is a beauty. The dress is made out of a beautiful silk brocade that has pink and copper flowers woven throughout the fabric. The pink and slightly coral parts of the flowers are done in a more matte thread and then the copper and gold parts are done with a metallic thread. As a result the flowers almost seem to glow off of the silk. It is an incredible vintage fabric. The top of the dress is equally as stunning. It has a low squared off neckline at the front that is made from a black velvet. It curves up and over your shoulders and has the same squared off opening at the back. At the front it dips slightly at the centre and placed exactly in the middle of that dip is a large black bow of the same velvet that has stiffened netting inside to help hold its shape. The sleeves are gorgeous. Each shoulder is shaped into a high cap. To help support the bit of a rise above the shoulder there is a stiffen thicker grosgrain ribbon that is pleated and stitched into place along the edge of the inner shoulder to add support. The sleeves are cut so that they curve over your arm and narrow down slightly to a zippered wrist. The top is meant to be more fitted and create a more empire feel. The dress is shaped through the waist area with vertical darts to bring the fabric in and create the curve that you see. The skirt falls to the floor from there. It flares out quite dramatically by the time it reaches the hem and I love how the width of the lower skirt perfectly balances the shape through the upper bodice. It is spectacular and the cut and design are phenomenal. This is classic Givenchy for this time period. Excellent condition

The dress is backed in the same velvet where it goes over your shoulders and then the bodice and rest of the dress are lined in a black silk chiffon. It closes with a back zipper and there is a zipper at the end of each cuff. Hand finishes throughout and very well made. 

Sleeves: 24" and are 16" around the upper arm
Shoulders: no true defined seam
Bust: 16.5" flat across from side seam to side seam
Natural waist: 13.5" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Bodice: approx 12" from top of shoulder to where the velvet ends under the bust
Total length: 57.5" from top of shoulder to front hem, 59" to the back hem with 2" turned under

Modern Sizing Equivalent: XS-SML

Item# DD4893

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This is a piece done and shown for the special party and fashion show done in 2012 to celebrate Alber’s 10th anniversary with the company that year. Its twin in red was worn on several red carpets and I love that this lets you see just how spectacular it is on the body. 

The dress is gorgeous and I love the shot of the soft taupe colour against that deep charcoal black. The dress is made from a fine silk shantung and this fabric choice holds the structure and shape of the dress beautifully. The bodice is strapless and cut to hug the body to the waist. The top of the bodice is detailed with a panel of silk in that pale taupe and this folds around the top neck line on a slight angle to one side. Inside, there is a full built in hidden corset that is boned and shaped. The fabric is gathered into the waist so that it cinches in and then the skirt falls from there to the floor. On one side of the skirt there are extra silk panels that have been gathered up to one side to create that elaborate trained feel that you see. It is pleated into the side and then expands outward from there. A high slit is hidden under the panels so you get a flash of leg when you move. The entire skirt, including that outer extra panel, is all backed in a pale taupe silk organza so that when you move you get a flash of colour that ties into the colour at the top of the neck line. The added panelling gives the dress such an interesting shape as it falls around you. For me it is a nod to those grand gowns of the 50s where you saw these side sweeping skirts quite a bit. It is tremendously beautiful and has this wonderful sense of grace and elegance. It still has its original hang tag attached. Excellent condition

The dress is lined in a pale taupe silk organza. The top has a boned inner hidden corset to help hold the dress in place and shape you. The inner corset has its own zipper to close and an inner waist stay hooks to close. A second zipper closes at the side under the pleating of the side panel. It appears to be unworn and the original hang tag is attached. Tagged a modern 36

Bust: to 16" flat across from side seam to side seam
Waist stay: 12.5" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Bodice: 11.5" from top of bodice to waist
Total length: 55" from top of bodice to front hem, 57" to the longest point of the side panel
Slit: 27" from hem up

Modern Sizing Equivalent: XS-SML

Item# DD4892

Reference Photos: (1-2) Natalie Portman in Lanvin at the Golden Globes, 2012.  /  (3) Doutzen Kroes in Lanvin at the Tiffany Blue Book Ball, April 2013.  /  (4) Katherine Jenkins Performs At Selfridges, July 2012.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This gorgeous and easy-to-wear Roberto Cavalli dress is from the Resort 2017 collection under the creative direction of Peter Dundas. “She’s a rock goddess and a summer traveler" said Dundas.... and in the Vogue review they said that "The goddess in question is not just a mood board picture; in the Dundas-sphere, she’s part of an impossibly glamorous posse of globe-trotting #CavalliCats—women like Beyoncé, who is a fan, who revel in the “souvenir” vibe of the lineup." The series of more caftan-like dresses like this one were mentioned specifically saying "Come November, when these clothes ship, they may fight over his Thea Porter–inspired long chiffon dresses printed with traditional Mexican floral and shamanistic motifs." This is the kind of dress that you slip on when you want to make a statement but be completely at ease while doing so.

The dress has a bit of a bohemian vibe to it and that combined with the feather light cotton netting make it a heavenly piece. It is really a dress that needs a body in it to fully come to life and be worn properly. You can see that in the runway presentation shot. The netting is covered in a pretty floral print that covers the entire dress. The fabric has a touch of transparency to it and I love how light in weight it is. This lets it float beautifully over the body. The neckline is ruffled and edged in a black lace. A long cord loops through the neckline so that you can adjust how open it is at the front. Each end of the cord is finished with a little tassel. The front ties top a low-cut keyhole that goes to the elastic that sits just under the bust. The top is cut loose and full. Each sleeve is also very full and billows out above an elastic cuff. The skirt falls to the floor and widens out as it nears the hem. It is made out of two tiers of the printed netting and this adds incredible movement when you move. It is so well made that I think you could choose to turn it around and have the keyhole at the back if you wished. The sheer lightness of it is amazing and makes it very easy and comfortable to wear. It appears to have been worn very little if at all. Excellent condition.

The outer dress is unlined and slips over the head to wear. It comes with a small half slip made of a black silk chiffon that slips over the head to wear. The waist and cuffs have elastic and the neckline ties to close. Tagged a modern Cavalli 38. The outer dress can accommodate range sizes so you could always change what you wear underneath.

Dress
Sleeves: approx 28" and are 17" around the upper arm
Shoulders: no true defined seams
Bust: approx to 18" flat across from side to side with no true side seams
Elastic waist: 13-26" flat across from side seam to side seam
Hips: open
Bodice: 11" from neck to high set waist
Total length: " from waist to hem

Inner slip
Bust: to 16.5" flat across from side seam to side seam
Waist: to 18" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Total length: 33" from top of shoulder to hem

Modern Sizing Equivalent: XS-MED

Item# DD4891

Reference Photo: Resort 2017 Roberto Cavalli, Look 23.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

The twin of this dress walked the runway on supermodel Carla Bruni who looked unbelievable in it. Valentino did a series of these dresses that were all done with this touch on a Western theme of stars on them with slightly different upper bodices. This is the second of that series that I have had. The first was sourced privately for a client and I love that I have found another one. We have included photos of the runway and of video many of the pieces so you can see how fantastic this is on the body.

Each side at the front of the dress is shaped to curve around the bust. It plunges into a low V at the front and then underneath that to the waist there is a black mesh panel that is transparent. I love how this makes the body feel bare but you are covered at the same time. At the base of the plunge you see the first of five rhinestone encrusted stars that the dress has. Another star sits at the top of each shoulder and they are placed slightly to the front so that you clearly see them when the dress is on. The back mimics the panels at the front in shape but here each of those panels is finished in black mesh. The V above and the V below where they hook together are open for a bare expanse of skin to show. The final two stars sit at the base of either of those panels at the back and you can clearly see them from the side and back. I love how they make this dress instantly recognizable as being from this collection. The dress skims over the hips from there and flares out as it reaches the hem. It is quite wide by the time it reaches the hem so you get fantastic movement as you walk, which you can see in the runway video. It is truly a fantastic piece of Valentino history. Excellent condition with a note below.

The dress is fully lined in a black silk and closes with a side set zipper from the waist down. The back mesh panels hook into place. There are built-in cups inside the bust and they would be easy to take out if you didn't like how they fit. We see a couple rhinestones missing off of the very tips of the stars. One of the larger rhinestone beads at the side is cracked underneath itself. We see one missed stitch on the front netting by the side. All very minor. Please see the photos after the label shot.

Bust: to 18" flat across from side seam to side seam
Waist:  12.5" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Total length: 60" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4885

Reference Photos/Video: (1-6) Spring 1993 Valentino.  /  (7) Spring 1993 Valentino Ad Campaign by Walter Chin.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

The twin of this dress in white walked the runway for Look 76 for the Spring 2004 show. During this period Mr. Valentino was still in charge and designing for his self named label. I love that I have tons of photos and the video of it so you can see just how fantastic this dress is on the body. It is a killer dress. The show was a huge success and the Vogue review for this collection stated in part; "When the fashion chat is all about the "new ladylike," it's not hard to give in to the methods of seduction Valentino has perfected. He's had "lady" down pat for years—for the genuine ones of the yacht-owning class, that is. His Spring collection covers the waterfront for that society, and those who aspire to it.... It all looked romantically pretty in the just-so mode that his clients adore." And what's not to love? The dress moves beautifully, is elegant and chic, and yet with that open side feels insanely sexy. This is the magic of original Valentino and this one is just tremendous.

We have also added to the modern provenance of this dress with Marlo Kelly wearing this dress for this year's Emmy's.

This is such a gorgeous dress. Its simplicity combined with that almost shocking open side add up to an incredible piece. The dress is made of a beautiful black silk crepe that gives it its sleek sculpted feel. The dress is very sexy and shows off some skin but still feels very elegant and refined. The fabric has just a touch of a bias cut to it through the body so its very comfortable to wear.  I love the way that it curves up and over your shoulders and scoops at the neckline. It skims over the bust and then starts to widen out and skim over the waist and hips. The skirt falls to the floor under that and it is all cut on the bias. By the time it reaches the hem it has widened out into that beautiful sweeping line that you see. A high slit up one leg gives it additional movement. The bias cut and that slit make the hem of the skirt move and float around you at your slightest movement. The open side is on the same side as the slit. The silk of the dress has been gathered up and around the cut out on the one side. The opening of the cut out is finished with a piped fabric and then more of the piping is used to created a laced webbed feel that sits inside the circle. This gives you a touch of coverage but still lets your skin show through. Extending out from that opening are long ties that trail down the side. These give the illusion of being able to tighten and adjust the lace. It is absolutely gorgeous. Excellent condition with a minor note below

Unlined and closes with a side hidden set zipper. We see a couple of teeny nicks to the fabric on one spot near the hem of the back. The fabric is bias cut so does have some movement. We have put the comfortable range of measurements below.

Bust: 15-17" flat across from side to side with no true side seams
Waist: 12-14" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 59" from top of shoulder to front hem, 62" to the back hem
Slit: 28" from hem up

Modern Sizing Equivalent: XS-MED

Item# DD4886

Reference Photos/Video: (1-6) Spring 2004 Valentino, Look 76.  /  (7) Portia de Rossi in Valentino at The 61st Annual Golden Globe Awards, January 2004.  /  (8-9) Marlo Kelly in this dress for Emmys weekend, 2024.

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 sexy Azzadine Alaia dress that we think dates to around 2013 when he did that fantastic red dress for Rihanna. It has the same kind of light in weight liquid knit and the play on transparency that her dress had. It is an incredibly beautiful and sexy dress.

The dress is made from one of his signature feather light knits that seem like magic. It is a deep black in colour and the knit has a touch of transparency to it. The bodice has a second inner layer of the knit at the front but even with that you still get a bit of transparency. Each side of the front bodice of the dress falls from the shoulder and is gathered into the waist for a very Grecian feel. It plunges into a low V and an inner piece is scooped to follow that same shape. The sides plunge almost to the waist and then at the back there is a panel that extends out and hooks into place for a low scoop behind the neck. This leaves a large curving open expanse of skin all the way to the waist. It is incredibly sexy. The waist is banded with a horizontally set knit band that has elastic inside so it is very comfortable and easy to fit and wear. The skirt is gathered into that band and it is very full beneath. There are yards and yards of knit in the skirt but when you are standing still it all falls into a column because of how light the knit is. It is only when you move that you realize how many yards of fabric are in the skirt. You get the most fantastic movement as you walk. The dress is in its original uncut length and it appears to have been worn very little if at all. Excellent condition

The front bodice has a second panel behind it and the rest of the dress is unlined. It closes with a hidden set zipper from the waist down and hooks to close at the back. Elastic through the waist.

Bust: each side of the halter covers up to 10" flat across from side to side with no true side seams
Elastic waist: 12-15" flat across from side seam to side seam
Hips: open
Bodice: approx 15.5" from top of shoulder to waist
Total length: 69.5" from top of shoulder to hem

Modern Sizing Equivalent: XS-MED

Item# DD4887

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

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 are stunning examples of his work during these early days of his career. 

These boutique label pieces were still very well made and because they were targeted towards a younger audience they tend to be a little brighter and have a little more fun in the way they are cut. The fabric choice on this one also has the added bonus of making it easy to wear and care for. You can throw it in your suitcase and it is ready to wear the day you unpack. The bodice is cut so that it crosses over itself to create a V for a bit of bare skin. The darker blue base follows the V of the neck and you see this border happen again on each cuff and at the hem. The sleeves are cut so that they have a bit of fullness over each cuff. The waist is cut with a bit more of a generous feel, and you could add a belt to cinch it in for more shape. The skirt skims over the hips and falls to the floor, widening out as it reaches the hem. I love the bright, crisp floral pattern that covers the entire dress to add a little shot of happiness. Excellent condition

Unlined and closes with a back zipper. Each cuff buttons to close and there is a hidden set snap at the V on the front. I think the buttons on the cuff were changed at some point. Otherwise looks to have been worn very little if at all. The seam at the waist has no give so the waist measurement is firm. The fabric of the dress has slight stretch otherwise. 

Sleeves: 23.5" and are 14" around the upper arm
Shoulders: 15"
Bust: to 18.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: to 27.5" flat across from side seam to side seam
Bodice: 15.5" from neck to waist
Total length: 60" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4883

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

John Galliano began his own label in 1984 and he was instantly a bit of a 'boy wonder' in fashion. He was British Fashion Council Designer of the Year in 1987, 1994 and 1995. In 1991 he made his Paris catwalk debut. In 1995 he was asked to head Givenchy and then went to Dior in October of 1996. His work, especially the bias cut pieces that he did, have a feeling of the decadence and abandonment of the twenties and they are beautifully cut. They marry Old Hollywood with the minimalist spirit of the nineties and early 2000s and the results are stunning. This is an amazing example of his work from the Spring 2006 season and it is gorgeous. This dress was a piece made for production for retail but it has all the things we love about his work presented in a beautifully chic and minimalist package. We believe that some of the detailing is based on / loosely inspired by the opening look of the Couture 2006 collection. We have included a photo of that dress for you and you can see similar bead work through the skirt of that dress that has similarity to the pattern of the beads on this dress.

The dress is made out of the deepest possible blue silk crepe chiffon that has a slight bit of texture to it and more opaqueness than a standard chiffon would have. It is completely cut on the bias which is one of his signatures that we all love. The dress falls from the shoulders and then drapes down and over the body to the floor. It is very beautiful. The signature bias cut that he often did allows the dress to skim and drape over you so that is shows every curve but is not overly fitted. The seaming is highly reminiscent of the work you see from the twenties and thirties which became another of John's signatures. The fabric has been pieced together with both curved and angled seams through the bodice and lower skirt especially to create the fantastic lines of the dress that you see. Wide straps extend out from the bust to curve over your shoulders. The front is set in a V and the fabric is gathered across the front of the shoulders. I love the angled cut of the front bodice where he has piece the two side of it together. These are set into a high curving seam that highlights the waist but still stays easy in cut. That seam curves around the back curving upwards there as well. The back is scooped into a low curved open expanse. The straps become smaller and run down the back to join into each side of the lowest part of that curve. An attached panel of silk drapes beautifully down the back in reference to the best of Old Hollywood. The dress glides over the body from there and flares out as it reaches the hem. The widening and length of the back hem is created with angled silk chiffon panels inset into the back skirt. It is an incredible feat of patterning. This creates a longer bit of a train at the back for a bit of a sweeping feel behind you. There is an incredible amount of fabric through the lower skirt which gives you so much movement when you walk. It is stunning. The entire dress to just past the knee is beaded with silver beads mixed with the tiniest  silver sequins. These are laid out vertically over the dress in beautiful curving lines that cover the dress. They catch the light from every angle and take the dress to another level. His signature row of tightly spaced buttons run up one side. The dress is even better in person and on the body as the static photos cannot fully convey how a bias cut dress moves. They only truly come to life when worn. It is an incredible example of his work and looks to have been worn very little if at all. Excellent condition

It has a matching silk inner slip dress that loop through a stitch so that they are attached at the top of the inner shoulders. You could easily remove this to get more room if needed. The bias cut should allow it to fit a range of sizes and we have provided the comfortable range of measurements for both it and the outer dress below. It closes at the side with a series of silk covered buttons. Tagged a FR42, GB14, IT46, US10. 

Dress
Bust: to 22" flat across from side seam to side seam 
Waist: 15-16.5" flat across from side seam to side seam
Hips: 22.5" flat across from side seam to side seam
Total length: approx 59" from the top of the shoulder to the front hem and approx 74" to the back

Inner slip
Bust: to 18" flat across from side seam to side seam
Waist: 15-17" flat across from side seam to side seam
Inner lining at hips: 20" flat across from side seam to side seam

Modern Sizing Equivalent: SML-LRG

Item# DD4884

Reference Photo: Fall 2006 Dior Couture, Look 1.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

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

This dress is made from a fine blue silk tulle that has a floral pattern embroidered over its surface in the same blue. The lining is done with a deep purple silk and this gives it this very unusual colour that lies somewhere between a deep blue and a deep purple. Onto the top silk net there is an exquisite floral design done with a metallic gold thread. That same gold thread also circles around the lower skirt in two horizontal panels done in a open chain link design. More of the floral netting separates those panels. The result is even better on person as the gold feel more prominent. I love how the gold catches the light from every angle. The bodice skims over you and the sleeves are long. Each sleeve has a bit of puff above the elastic cuff. The waist is cut more generously and you could add a ribbon or a belt to cinch it in. The skirt skims over the hips to the floor and widens out as it nears the hem. The added panels of gold on the skirt help to give the skirt support and help hold its shape. The dress is wonderfully light in weight once on the body. Gorgeous. Excellent condition 

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

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

Modern Sizing Equivalent: XS-MED

Item# DD3925

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This Roberto Cavalli dress is from the recent Spring 2024 collection under the creative direction of Fausto Puglisi. A version that looks like it was cut shorter walked the runway for Look 12 on Adut. The exuberant feather print that you see on this dress in shades of pinks and coral was an integral part of the show and ran over several of the pieces. This is the kind of dress that you slip on when you want to make a statement.

The dress is easy-to-wear and very flattering once on the body. The stretch jersey fabric and brilliantly coloured feather print are the perfect combination. The lines are simple and it has that perfectly easy but very sexy feel. There is an inner body suit to hold the dress perfectly in place and you just slip it on, hook the band at the back of the waist and button the button at the top of the neck and walk out the door. Once it is on, it moves with you and highlights your curves. The dress has a deep front plunge that is held in place by that inner bodysuit. The sleeves are long and simple. When you turn there is a long open cut out for an expanse of bare skin to show. A band wraps around the waist and hooks into place at the back to hold that opening in place. Another cut out is done on each side of the dress to expose the skin above the waist band and the top of the hip. From there it falls to the floor in a column of jersey. The entire lower portion of the skirt has been set in so that it flares out and when you walk, you get a kick of fabric. You can see that in the runway video and because these were sent in a longer length to the stores, it is even better in my opinion. It is one of the dresses that you just slip into and walk out feeling like a million bucks. Very sexy on. It appears to have been worn very little at all. Excellent condition

Unlined and slips on with an inner bodysuit that hooks to close. The band at the back of the waist also hooks into place and it buttons to close at the back of the neck. The fabric has stretch and the measurements below are the comfortable range of that stretch when it's laying flat. 

Sleeves: approx 24"
Shoulders: no true shoulder seam
Bust: 17-21" flat across from side seam to side seam
Waist: 12.5-14" flat across from side seam to side seam
Hips: 16-21" flat across from side seam to side seam
Total length: 60" from top of shoulder to hem

Modern Sizing Equivalent: XS-MED

Item# DD4880

Reference Photos/Video: (1-3) Spring 2024 Roberto Cavalli, Look 12. Model Adut Akech.  /  (4-7) From the Roberto Cavalli website.  /  (8) Loujain Adada in Roberto Cavalli for Dubai Fashion Week, 2024.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This wonderful dress is by Marc Bohan for Christian Dior and it is a wonderful example of his work during this time period. It is a very easy and comfortable dress to wear. His work was integral to the label's development over the decades that he headed the atelier and this is a stunning example of his vision. Beyond that it is just an extraordinarily beautiful dress.

The dress is super light and very easy to wear. The outer layer of it is a fine silk chiffon that has a deep rusty coral colour shot through with black to make an abstract pattern that covers the entire dress. The neckline is an elastic that sits wide across the top of the shoulders. I also shot it fully off the shoulder as an option and if you wanted it completely bare across the shoulder you could wear something different underneath. I love that this gives you multiple dresses in one by wearing it on or off the shoulder and then with or without the sash. There is a button closure above a keyhole and the dress is so well-made that you could wear that either way around to the front or the back. The dress billows out from there with an almost caftan feel to it. If you wish you can wear it in this very loose and easy way or you can use its matching silk sash belt to cinch it in and add shape through the waist. The softness of the body is balanced out by fabulously full sleeves. They billow out above their four silk covered buttons on the cuffs. The sleeves are not lined so you get this wonderful sense of transparency. The dress comes with a matching inner slip in a more pastel shade of the coral. There is an insert of the same printed chiffon at the front for a little added coverage on the inner slip. It is very easy-to-wear but packs a tremendous amount of style with the beautiful fabric and easy cut. It is spectacular. Excellent condition.

The dress comes with a separate silk slip that acts as the lining and the sleeves are unlined. The slip closes with a side zipper and the dress slips over the head to wear with elastic around the neck line and a button at the back. Each sleeve has four silk chiffon covered buttons at the cuff. The sash is a single layer of the chiffon with finished edges. The loose and easy cut should allow the outer dress to fit a range of sizes and you could easily change the separate half slip underneath if it did not fit perfectly. Small slits run up each side of the outer dress.

Dress
Sleeves: approx 28"
Shoulders: no true seams
Bust-hips: to 22" flat across from side seam to side seam
Length: 54" from top of shoulder to hem - it will hang longer if worn off the shoulder

Inner slip
Bust: to 17" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 53"

Sash: 101" long from end to end and 7.5" wide

Modern Sizing Equivalent: SML-MED

Item# DD4882

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This is one of the prettiest Oscar dresses I have ever had in the shop and I love it. The movement it has when it is on and you walk is just incredible. One appeared on the runway that season for Look 51 and Leah Michelle wore one to the 2010 Emmys. This is the type of dress that made us all fall in love with Oscar and his view on femininity romance and occasion. It's an absolutely stunning piece and I love it's added red carpet modern provenance.

This dress is absolutely dreamy. It is made out of the perfect deep blue silk mixed with shots of a silk chiffon in the same shade. It is strapless and the neck line curves around and over the bus with a bit of a peak on one side. The peak is created by an added layer of silk and you can choose to steam that down, so it's in line with the neckline or wear it up as you see in these photos. The silk is draped over the bust to give the illusion that it's wrapped around you and then a piece extends down from the one side and wraps all the way into the back. Inside it is cupped and shaped for support. Under the added panels of draping it is meant to hug the body and highlight your curves to past the hips to create an hourglass feel. I love how the sea where the skirt is set in is all set on a sharp angle which really gives the illusion of added length through the body. The skirt is spectacular. Here you see the genius of Oscar. The skirt has a ton of volume to it that shows best when you move. It is made out of a cascade of silk ruffles that become wider and more full as they near the hem. It is set slightly longer at the back then the front so that you get this pretty curve from the side view and this fantastic sweep of skirts from the back. The entire skirt is covered with angled rose of silk that spared no generosity in how much fabric was used to create each one. Each one is finished at its edge so that it curls slightly and retains his volume. In between each silk layer of ruffles is a matching blue silk chiffon layer, and those also have finished edges so that they curl as well. There are eight layers in total and then the very inner bottom portion of the skirt is finished with a wide band of concealed stiffened netting that helps to hold the shape and volume of the skirt while adding support to the ruffles above. Inside of that is yet another silk inner skirt, which is also finished with its own wide concealed band of stiffen netting. When this is on and you are walking the effect that this creates is absolutely gorgeous. This is Oscar at his very best and it is a tremendously beautiful dress. Excellent condition 

Fully lined in a matching blue silk. It interior corset closes with a zipper at the back and then a second hidden set zipper closes the dress over that. Lightly boned through the inner bodice and built in wire cups. Inner waist stay hooks to close. The dress no longer has a label, but you can see the remnants of its original hanging supports just under the edge of the bodice with the label name on its. It appears to have been worn very little if at all. 

Bust: to 19" flat across from side seam to side seam
Inner corset waist: 15" flat across from side seam to side seam and the exterior waist will accommodate up to 17" flat across from side seam to side seam
Inner hips: to 21" flat across from side seam to side seam
Length: 49" from top of the bust to shortest part of the front hem, 54" to the back hem

Modern Sizing Equivalent: MED-LRG

Item# DD4878

Reference Photos/Videos: (1-2) Resort 2011 Oscar de la Renta, Look 51. Model Anastasia Kuznetsova.  /  (3-5) Lea Michele in Oscar de la Renta at the 2010 Emmys.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This set is incredibly beautiful and we are very pleased to have dated it to the Spring 2000 Couture collection. We have included the runway photos here along with some video so that you can see just how beautifully it moves. True Haute Couture pieces by Chanel are an extraordinary find as they are so very rare to come by. It is an incredibly beautiful example and historically important piece of work that the Karl and the Chanel ateliers were doing during this time period.  In the book 'Chanel Catwalk' they said of this collection; 'Karl Lagerfeld focused on suits ..for this haute couture collection, presented as a winding catwalk in a riding centre in the Bois de Boulogne. It featured 'only' fifty-eight looks, 'but I could have had many more,' Lagerfeld told Women's Wear Daily, 'because we have many clients and they want suits, suits, suits.'The suits in question were reinvented with flowing full skirts. A shape Lagerfeld said, 'was inspired by his desire for volume with movement.' 'We cannot make now skirt for the rest of our days' he declared, but also insisted this is not the New Look, despite how much the silhouette was reminiscent of the 1950s style introduced by Christian Dior.' When looked at this set under that context, you can see that reference, but it still feels decidedly Chanel. It is absolutely gorgeous to see in person. 

On the runway, it was shown with a metal belt that was sold separately. My client chose not to purchase that belt, however, to show you how the jacket looks belted I have shot most of these  with a wide black grosgrain ribbon around the waist. That will be sent with the set and you could obviously change it to any belt that you have of your own.

Both pieces are made from a deep blue silk organza. This fabric allows it to keep the shape that he intended while still keeping both pieces extremely light in weight. The dress is dropped from the shoulder from straps that curve up and over each shoulder. The bodice is easy fitting and cut to skim over you with a shallow V at the front. It is hand pieced together in a pattern of panels set horizontally over the bodice. The waist is dropped as Karl tended to do, and then from there the skirt flows out to the floor with incredible movement. The skirt has been pleated all the way around into sharp knife pleats with each pleat the exact same width as it's neighbour. This gives the skirt incredible movement. Two layers of silk tulle are built-in underneath the skirt to add support and volume. The jacket sits over top of this and it has a soft and simple cut. The neckline is cut wide across the collar bones. The sleeves are long and each has a notch that runs up the inside seam. It has an inner hidden tightly space row of hooks and then snaps to close over that to one side at the front. Once the jacket is cinched in with a belt you really get this beautiful shape that is offset by the volume through the skirt. There are small shoulder pads in each shoulder but they are soft and light. Along the inner hem of the jacket is a signature Chanel hand set metal chain. All of the work is meticulously done by hand to Haute Couture standards. It is an incredible piece of Chanel couture. It is very beautiful and even better in person. Excellent overall condition with a note below 

The jacket is fully lined in a blue silk and closes with hidden snaps and hooks at the front. A chain sits inside the hem. The dress is lined in the same silk organza through the bodice and then the skirt has two layers of silk tulle. One layer is black and the other is a matching blue. The dress closes with a zipper and a separate set of snaps to close on each of the three layers of the skirt. An inner waist stay hooks to close. Some of the edges of of the organza have slightly faded on the jacket and bodice of the dress. Some of the pleats have softened slightly on the skirt.You can see this in the shots throughout. There is stress to a tiny area on the edge of the strap seam. Please see the shot after the label shots. Both pieces have an appropriate Haute Couture label and numbered tape.

Jacket
Sleeves: 24"
Shoulders: 15"
Bust: 18.5" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: 22" flat across from side seam to side seam
Length: 24" from neck to hem

Dress
Bust: 18" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: open
Bodice: 18" from top of shoulder to slightly dropped waist
Skirt: 42" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4139

Reference Photos/Video: Spring 2000 Chanel Haute Couture.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

The Richilene label was launched around 1970 and lasted to about 1990 or so from what I understand. It was a New York based label and was designed by Ilene Pacun and her husband Richard. The name came by combining their two first names which I only found out recently, and I thought was a cute little detail. They focused on party dresses for the most part and had a pretty wide range of options price wise. By the mid-1980s their prices ranged from about $200-$2000 and the higher and pieces were very well made. I can't help but think that this is a more attainable version of the famous 1986 Chanel with its removable sleeves. It has that same kind of vibe.

I absolutely love the cut of this dress. It is made out of a beautiful deep blue netting that has little dots worked through the tulle. The choice of this particular fabric gives it the structure to hold the shape but still keeps it fairly light in weight once on the body. The bodice is strapless and the neckline is cut fairly straight across all around you. There's inner boning for support and the boning continues down the sides on either side to help hold the dress in place. The waist curves in a bit and then the skirt is set in just at the top of the hip. I love how this gives the illusion of extra length through the body. The entire bodice has been heavily detailed with iridescent, deep blue sequence that are sat in a curving swirling pattern. They are heavily set so that they overlap each other and this allows them to catch the light in different ways to create a really pretty effect. Onto this are embroidered and beaded flowers that have petals set up and off the dress for a slight 3-D effect. These go all the way around the upper bodice. The skirt is very long and full. It flows to the floor in a cascade of that beautiful daughter in and there are five layers making up the skirt. The top two layers are the blue netting and then there is a organza layer under that that has a shimmering finish to it. Under that is a black layer of stiffen netting and then there is a final blue layer inside and under that. The very top layer has an edging of stiffen netting all the way around it, and that helps hold the shape and give it a pretty finish all of the volume you see in these photos are from the skirt and all of these built in under skirts. The final touch is of course those incredible removable half sleeves that you just slip on and wear high on the upper arm. They have stiff and tool inside, which helps to give them that puff, and then there is elastic at each end for an easy fit. I have pushed them up so they're very full, but you could also wear them a little more stretched out if you wished. The dress has a bit of a fantasy princess feel that I love. Excellent condition.

The bodice is lined in a deep blue muslin feeling fabric and the skirt is lined as described above. It closes with a back set zipper. The sleeves have a stiffen tool interior and elastic on each end so they just slip onto the arm. 

Sleeves: each sleeve is up to 14 inches long and can be worn to be up to half that size in length. The elastic at each end stretches up to approximately 20"
Bust: 17" flat across from side seam to side seam
Natural waist:12.5" flat across from side seam to side seam
Seam at bottom of bodice: 16.5" flat across from side seam to side seam
Hips at inner lining: to 24"flat across from side seam to side seam
Bodice: 12.5" from top of the bodice to the seam at the bottom of the bodice
Total length: 53" from top of the bodice to hem

Modern Sizing Equivalent: SML-MED

Item# DD4879

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This dress was a dress that was made for the shops, but you can see the same lace detailing used in the runway dress shown for Look 41 for the Fall 2017 show. It is interesting to see lace used throughout this collection because it coincided with the same time that she was working on the wedding dress for Kate Middleton. Vogue praised her for this show saying that for the first time she fully articulated her own point of view. This may not have been a piece that walked the runway, but it is a stand out piece nonetheless. 

This is an exquisite dress that is made of black silk netting and then the dress is lined in a black silk through the body. This gives it enough weight to hold the shape of the dress but it still feels magically light once on. The design that covers the dress has been meticulously done by combining a netted lace base with black cording that highlights the design worked into the lace. This gives the design a slightly raised 3D effect off of the netting. The designs forms these gorgeous patterns and it is the kind of piece that the more you look at it the more you see. I took several detail shots so you can get an idea of the workmanship. The sleeves are long and they are left unlined so that the pattern really shows against your skin. The shoulders are soft and the neck is scooped. It skims over the bust, past the waist and over the hips. There is no seam at the waist. Instead it is cut so that two little triangles extend from the back and are wrapped into the waist. Once you turn around you see that they are extended from a full see-through back that is scooped low. It is almost shocking once you turn around and see that slightly transparent but still covered back. The lace set on this back area is different from the rest of the dress so you also get this fantastic contrast there. The skirt falls to the floor from there and it is in its original uncut supermodel length. I love how the width of the skirt flares out and it is quite wide by the time it reaches the floor. The extra fabric around the hem also gives you this beautiful movement when you move. Truly an extraordinary piece from the Sarah Burton era. Excellent condition.

Lined in a black silk as described above. It closes with a hidden set back zipper and each cuff closes with a hidden set zipper. Tagged a modern McQueen 38

Sleeves: 23.5" and are 10.25" around the upper arm
Shoulders: 14" 
Bust: 16-17" flat across from side seam to side seam
Waist: 12-13" flat across from side seam to side seam
Hips: to 17.5" flat across from side seam to side seam
Total length: 63.5" from neck to front hem, 66" to the back

Modern Sizing Equivalent: XS-SML

Item# DD4877

Reference Photo: Fall 2017 Alexander McQueen, Look 41.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This is the actual dress that Sarah Snook wore to attend the Director Guild Awards in March 2022. This amazing sequin dress is by Bob Mackie from his boutique line and it is gorgeous. Mackie was best known for dressing Cher and for his signature glamour. He worked for both Edith Head and Jean Louis prior to entering costume design and he began by co-designing with Ray Aghayan. That led to his incredible journey in designing for stars like Cher and Diana Ross for many years before launching his own label. His work always has that touch of the best of Hollywood glamour.

This is such a gorgeous dress. Its simple cut combined with that heavy sequin coverage add up to an incredible piece. Plus it is fabulous to have the added modern provenance after having Sarah Snook wear it. The dress has an incredible pattern done in sequins that make the entire dress catch the light from every angle. The sequins are all a glossy black and they are set in vertical rows. In between vertical sections of four, and four and a half inches in width, he left long bands of the fabric without sequins and then also did that same thing cutting across the dress so that he could create a slight check pattern that runs over the dress. It is subtle but adds the perfect amount of detail. The sequins within each created rectangular 'box' have been applied to slightly overlap the next sequin in line so you get a liquid effect. The dress is strapless with a slight curve to the neckline. The front neckline is cut straight across and the bodice kept simple. It is cut to fit over the bust and the waist is cinched. Inside is a hidden cupped and boned corset to keep the dress in place. The dress skims over the hips and the fabric there has stretch so it is easy to fit. The skirt falls to the floor and widens out as it nears the hem with a little flare to the lower skirt. The back is cut longer then the front for a bit of a trained feeling behind you. It has a very classic Old Hollywood movie star feel to it. This is a dress that you just slip on and it is perfection. Excellent condition.

The bodice has a built in inner corset that is cupped and boned. The rest of the dress is unlined. It closes with a hidden set back zipper. There is a wide stay under the bust and at the inner waist that hooks to close with four hook options. Tagged a vintage Bob Mackie 6.

Bust: 17-17-5" flat across from side seam to side seam
Waist: 14-15" flat across from side seam to side seam
Hips: 18-22" flat across from side seam to side seam
Bodice: 10" from top of bodice to inner waist
Total length: 53" from top of bodice to front hem, 56" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD4876

Reference Photos/Video: Sarah Snook in this Bob Mackie at the Director Guild Awards, March 2022.

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 actual runway sample from the Fall 1975 collection and you can see how fantastic it is on the body by the reference photo we found. Like the ivory coloured one already in the shop, the bead work on this dress was done by hand by Madame Gandini, who did beading for many of the Couture houses of the day. John's business is all done on a made-to-order basis. That means the majority of pieces you will find are a one-off, or if there are similar pieces, very few of each piece exist. This personal attention to each dress is clearly seen in the workmanship of his pieces. His work is very expensive and beaded pieces like this sold for over $10,000 even in the 1970s. If you convert that to modern dollars you get to about $68,000. Having this actual runway samples that John pulled from his own archives to share with you is just amazing. 

This is an amazing dress that has been densely beaded by hand. The base of the dress is a black silk chiffon and then onto that are thousands of glossy black glass tube beads laid out in vertical rows to fully cover every inch of the dress. The dress has weight to it with all those beads and it is almost 10 pounds off the body. Yet once on, the weight is distributed over you perfectly. The impact of all those beads from head to toe is stunning in the light. The cut is kept simple so that the bead work can take centre stage. The bodice has a high collar and the beads are set there in a slightly different pattern for a bit of added detailing. The dress falls from the shoulders to skim over you all the way to the floor. There is just a suggestion of the waist and then it skims back out over the hips. The sleeves are long and they also have that same slightly different bead work to detail each cuff. The skirt widens out just a touch as it nears the hem and there is an extremely high slit up the back. You don't get as much sense of it in these photos but once on the body this really adds a high flash of bare leg as you walk away. It is insanely sexy. As good as this dress looks in these shots once it is on an actual body is eve better. It is completely made by hand and it is stunning. Excellent condition.

Fully lined in a black silk chiffon and it closes at the back with a metal and nylon zipper. Hand finished throughout. There is perhaps the occasional bead missing here and there but no bare areas. Numbered sample tag on the inner hem.

Sleeves: 22" and 10" around the upper arm
Shoulders: 14"
Bust: 16.5" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: to 18.5" flat across from side seam to side seam
Length: 59" from neck to hem
Slit: 30.5" from hem up

Modern Sizing Equivalent: XS-SML

Item# DD4404

Reference Photos: Fall 1975 John Anthony Runway.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

The twin of this dress walk the runway for the Fall 1987 season. It is absolutely sensational and I am very pleased that we found photos of it on the runway so you can see how dramatic and amazing it is on the body. He could really push the envelope with some of his designs and this particular dress is a nod back to some of the work that he was doing in earlier decades but in that best of the 1980s kind of way. I love that about it.

This is not a dress for somebody who does not want to stand out. I think the person that will wear something like this has a certain way of moving through life and doing her own individual thing. The dress is utterly fantastic. It combines a brilliant pink silk that has a secondary pattern running through it that catches the light from every angle. Onto that is a black floral pattern that covers the pink. He has used this through the body of the dress and for the very bottom part of the skirt. The rest of the dress is made from a sequin detailed lace with black ribbon that has been applied over that for this wonderful layered effect. The texture that all these things together achieve is fantastic and I love the way it catches the light. The neckline is cut wide across and the shoulders are soft. The arms are unlined so you see a peak of skin between the net lace, sequins and ribbon detailing. More of the lace goes across the top of the bodice at the front and back. For this part of the dress he gave it a backing of black silk organza so you have just a touch of transparency. The pink is set in just at the top of the bust and it is gathered along that seam for extra detail. Those gathers also allow for the dramatic volume that you see through the body of the dress to the top of the hip. Under that is band of the black and there is elastic running through the top of the hip so that you can adjust it up or down and change the length of the dress. The very bottom part of the skirt is a little soft and flirty band of the pink silk. It is fantastic and a very rare and special piece of YSL history. Excellent condition.

Fully lined in a black silk through the body and the lower lace panel. There is black silk organza behind the upper bodice and then the lowest part of the skirt and the sleeves are unlined. It closes at the back with a zipper and each sleeve zips to close at the wrist. It appears to have been worn very little if at all. Tagged a vintage YSL 40.

Sleeves: 27" and they are 12" around the upper arm
Shoulders: 15"
Bust: 17.5" flat across from side seam to side seam
Waist: open
Hips: 16-19" flat across from side seam to side seam
Total length: 36" from top of shoulder to hem and can be adjusted to sit shorter

Modern Sizing Equivalent: SML-MED

Item# DD4874

Reference Photos: Fall 1987 Yves Saint Laurent.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This is a very rare runway documented Givenchy Couture dress from the Spring 1998 ready-to-wear collection "Rhinestone Cowgirls". It is the twin of the one that walked the runway. This is from the small period of time that Alexander McQueen was the Creative Director for the house. At just 27 years old he succeeded John Galliano as head designer in 1996. In 2001 his contract ended and he departed, telling the press that his creativity was constrained. His appointment had been tumultuous from the start. Hubert de Givenchy had describe his appointment as a "total disaster” and McQueen had shot back that the founder was “irrelevant”. Of course now in hindsight we see his collections for the genius that they were. It also showed his ability to design Couture. He said in later interviews that he walked away from the label with a greater knowledge about the process and techniques of couture, which benefited his own label afterwards. 

In the 'Givenchy Catwalk' book they note that the collection was heavily influenced by Westerns and said that "the hairstyles were inspired by the 1970s, especially Farrah Fawcett's iconic look with thick hair and flicked out ends. Dresses and suits made out of dip, lambskin, covered with flames and star motif created with insets of fabric appliqué." This is one of the most recognizable dresses from the collection and its photo also appears in that same book.

This dress is remarkable. It is strapless and the body of the dress is beautifully seamed. The upper edge of the bodice is finished with a dusty pink suede and the inner bodice is boned and shaped to hug the person wearing it. It is held in place by that inner corset and then it skims over the waist and down to the hips. I love how the skirt is set into the hip with a series of curved scalloped designs. This allowed him to do long vertical panels to make up the skirt. There are eight of them in total and each one spans out to be a full 25" across by the hem. That makes the bottom of the skirt incredibly full and if you lay it out flat, it is more than a full circle skirt. To emphasize the fullness of the skirt he had the model hold the skirt up and flick it around her as she moved. You can see in the photos here that when you are standing still you do have some idea of the fullness that the skirt has but this is really a piece that it is when you have it on and you see it moving that the amazing amount of fabric in the skirt gives it an entirely new dimension. The bottom of the skirt has been inset with the same dusty pink suede in the flame motif that ran so prominently throughout the show. I laid the dress out with the skirt extended so that you can get an idea of just how much fabric is in there. This is an amazing piece of both Givenchy and Alexander McQueen's history. Excellent condition with a note below.

The bodice and body to just past the hip is lined in a black silk. The skirt is backed in black. The dress closes with a hidden set side zipper and the inner bodice is boned throughout with a built-in corset to the waist. A waist stay hooks to close. The suede shows some very slight minor fading and light grubbiness here and there. There is a small area on the bodice where the black has slightly lightened to have a reddish tint and there are a couple areas on one part of the skirt that has done the same. Please see the photos after the label shot. Tagged a vintage Givenchy 40

Bust: 16-17" flat across from side seam to side seam
Inner waist: 13.25" flat across from side seam to side seam. Note that the outer waist is up to 15" so you could adjust the corset if you needed more room.
Hips: to 25" flat across from side seam to side seam
Bodice: 9.5" from top of bodice to inner waist of corset
Total length: 56" from top of suede edge of the bodice to hem

Modern Sizing Equivalent: SML-MED

Item# DD4872

Reference Photos/Video: (1-5) Spring 1998 Givenchy Runway.  /  (6) From the book "Givenchy Catwalk: The Complete Collections" by Anders Christian Madsen.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

The twin of this Geoffrey Beene dress was showcased in the Met Museum's exhibit 'In America: A Lexicon of Fashiont' and that  dress resides in their permanent collection. This was already one of his most iconic dresses and it is now even more so after the exhibit and being included in the accompanying book. The dress is heavily documented and was photoed extensively the year that it debuted. It is an extraordinary dress

The cut of the dress is so perfectly simple. It is made out of a black very light wool jersey that has an almost soft t-shirt feel to it. The dress is unlines and the jersey has perhaps the slightest bit of transparency in certain lights, which only adds to its sensuality. The sleeves are long and sleek. Each one ends in a hidden set zipper and their edges are finished in a black silk ribbon. That same black silk ribbon edges the neckline. The dress is cut to skim over you at the front with slight shaping through the waist. It curves back out over the hips and then falls to the floor where it widens out. At the back, you see that bare expanse of skin which is what makes the dress so famous. It hooks at the back of the neck and then it curves out and around to a very low dipping back. Insets of a pale silk chiffon curve down and into the sides of the hip seams to give the illusion that you are even more bare than you actually are. Where are those inserts end, the seams extend down and curved to the front where they run down towards the centre hem. This clever bit of seaming helps to shape the dress around you and continues that curved feeling that the open back gives. It is quite genius. One of the most iconic dresses ever made. Excellent condition with a minor note below.

The dress is unlined and slips over the head to wear. It hooks at the back of the neck. Ribbon finished inner seams and hidden set zippers at each cuff. Tagged a vintage Beoffrey Beene 8. I see two teeny tiny repairs near the centre back seam. The jersey has stretch through the body and the comfortable range of the measurements are below 

Sleeves: 24” and 14-16" around the upper arm
Shoulders: 15”
Bust: 17-20” flat across from side seam to side seam
Waist: 12-16” flat across from side seam to side seam
Hips: 18-22” flat across from side seam to side seam
Total length: 61” 

Modern Sizing Equivalent: SML-MED

Item# DD4871

Reference Photos: (1-5) Fall 1989 Geoffrey Beene (credits unknown)  /  (6) Model in Geoffrey Beene for Mirabella magazine, 1989, photographed by Michael O'Neill.  /  (7) Part of The MET Collection online.  /  (8) Image from the book "In America: A Lexicon of Fashion" that accompanied the MET Exhibit of the same name.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

The book 'Givenchy Catwalk' says of this collection that "the new collection was heavily influenced by the fashions of the 1940s and was the height of sophistication." Several pieces walked the runway that season that had these Trompe L'oeil ribbons adorning their silk surfaces. The book notes that "the exclusive bow and ribbon prints on some day wear outfits reference the motif that had made Elsa Schiaparelli's name in 1927, but it was after dark that these features truly came into their own. In the evening were large ribbons tied into bows or loosely draped, decorating the bust like a tie or nipped in the skirts of extravagant colourful designs." This dress, or a very near version of it, was shown on the runway under a white jacket nipped in at the waist. We have also included a photo from the book that shows some of the other designs from that season that featured these sequin bows as well. It is a beautiful piece.

Modern Sizing Equivalent: XS-SML

Item# DD4870

Reference Photos: (1) Spring 1979 Givenchy Haute Couture.  /  (2) Spring 1979 Givenchy Haute Couture Looks from the book "Givenchy Catwalk: The Complete Collections" by Anders Christian Madsen.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This is one of two remarkable dresses that I have today that are absolutely insane to see in real life. Each is so very good and they are not even photoing half as good as either is in person. The sheer amount of hand work to apply those thousands of sequins, crystals and beads needs to be seen in person to truly appreciate. This is one of those pieces that really showcases the higher end work that the label was capable of. The dress is the work of Elinor Simmons who designed for the Malcolm Starr label from the early 1960s to 1972. She excelled at these early heavily embellished pieces that the label became known for and this is an outstanding example of that. It is even more amazing in person and the photos cannot convey the impact and presence it has. It is gorgeous

The fabric on this dress is gorgeous and you would never see its equivalent in modern fashion unless you are looking at a couture piece. The base fabric is a red silk brocade that has a heavy shot of gold metallic thread running through it that gives the dress its golden glow from shoulder to hem. The bodice skims over the bust and the neck is cut into a curving V at the front. The back also curves into a V and it dips lower for a bare expanse of skin to show. The waist is seamed and set a touch higher under the bust. From there the skirt falls to the floor and widens out as it nears the hem to perfectly balance the shape of the bodice. The simplicity of the shape is what allows the extraordinary detailing that sits on top of the brocade to shine. Onto the red and gold thread silk brocade are thousands upon thousands of tiny silver sequins, gold beads, glass tube beads, paillettes, and pink and red glass prong set crystals that have all been applied by hand. These cover every square inch of the dress and give the dress an incredible 3D feel and shine. The hand work was all done in the British crown colony of Hong Kong, which, during this period of time, was doing some of the best hand work on the planet. The dress has weight to it but it is balanced so perfectly that it is not too heavy once on the body. It just feels like you are wearing something of substance and beauty. The entire dress has a beautiful and subtle shimmer from every angle. I love it. It is just a beautiful dress that showcases just how good hand work and detailing can be. Excellent condition.

Fully interfaced in a red cotton muslin to hold the weight of the bead work and then lined in a silky rayon through the bodice and a red silk through the skirt. It zips to close at the back. It appears to have been worn very little if at all. I see the tiniest bit of grubbiness along the inner edge of one arm. Ribbon edged inner hem and hand finishes.

Bust: 18" flat across from side seam to side seam
Seam under the bust: 15" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: 11" from top of shoulder to the seam under the bust
Total length: 54" from top of shoulder to hem with about 3.25" turned under

Modern Sizing Equivalent: SML-MED

Item# DD4867

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

Vicky Tiel was backed by Elizabeth Taylor as a young designer after working on the costumes for 'Whats New Pussycat'. After a stint with a partner she launched her self named label in Paris in 1970. She as one of the very early boutique owner/designer that offered a ready-to-wear option in Paris. That said, her clothes often walk a fine line between ready-to-wear and couture in terms of their construction and techniques used. By the mid to late seventies her style had developed into the ultra sexy and feminine clothing that she is now known best for. By the eighties and into the nineties, she had a cult celebrity following. This is a stunning example from 1984 of just how gorgeous and dramatic her work could get. 

The dress has the added modern provenance of being worn by both Julianne Hough and by Liz Gillies. We have included some of the photos from those two events and they show you just how fantastic this dress is once on the body.

The dress is made of a metallic gold lame fabric that gives it an extra shot of glamour. The fabric is quite light in weight so despite the elaborate construction of the dress is not heavy to wear. It is just heavy enough to hold the intended shape fabulously. The bodice is cut in a strapless rounded sweetheart finish that is very flattering. It is elaborately gathered and fitted around the bust with hand placed and gathered folds. Hidden inside is a built in under the lining internal structure with light boning so that the dress stays perfectly in place when it is on. The boning extends at each side, down and around the hips, which helps to hold the hourglass shape around the body. It is genius. The waist is nipped in but without any seam to break the gorgeous gathers that go across the dress. It curves out and over the hips and then under that the skirt falls in a straight long pencil silhouette with a vent up the back to allow you to walk and move. The gold glimmers in the light and it is one of the best Vicky Tiel dresses that I have ever had in the shop. It is so sensual and sexy and is even better once it is on an actual body. Excellent condition

Fully lined in a black silky rayon and closes with a painted metal and nylon zipper at the back. Boning through the bodice and sides as described above. Tagged a vintage Tiel 38. 

Bust: 15-16" flat across from side seam to side seam w up to a B-small C at the front
Waist: 12" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Total length: 51" from top of bodice to hem with about 1.5" turned under

Modern Sizing Equivalent: XS-SML

Item# DD4868

Reference Photo: (1) Vicky Tiel in Town & Country magazine, December 1984.  /  (2) Julianne Hough in this dress at the NYC Ballet Spring Gala, 2023.  /  (3) Liz Gillies in this dress, November 2023.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This is one of two remarkable dresses that I have today that are absolutely insane to see in real life. Each is so very good and they are not even photoing half as good as either is in person. The weight and sheer amount of hand work to apply those thousands of sequins, crystals and beads needs to be seen in person to truly appreciate. This is one of those pieces that really showcases the higher end work that the label was capable of. The dress is the work of Elinor Simmons who designed for the Malcolm Starr label from the early 1960s to 1972. She excelled at these early heavily embellished pieces that the label became known for and this is an outstanding example of her work. It is even more amazing in person and the photos cannot convey the impact and presence it has.

I think that this might be the best Malcolm Starr dress that I have ever seen in real life. If the other one is great, this one is even a bit beyond that. The base is a gold thread lame fabric that is one solid gold colour. Onto this are thousands of cut out paillettes in a brilliant pink, pale sea foam and bright royal blue. These are mixed with pale pink and soft mint & silver sequins. There are gold beads and sequins, and then a heavy dose of green, blue and deep pink glass prong set crystal rhinestones. I don't think I have ever seen anything quite so elaborate and brilliant. The mix of all of these is astonishing to see. The intricate pattern covers every square inch of the dress and give the dress an incredible 3D feel and shine. The hand work was all done in the British crown colony of Hong Kong, which, during this period of time period was doing some of the best hand work on the planet. The fabric on this dress is gorgeous and you would never see its equivalent in modern fashion unless you are looking at a couture piece. The dress has weight to it but it is balanced so perfectly that it is not too heavy once on the body. It just feels like you are wearing something of substance and beauty. The bodice skims over the torso and the neck is cut into a low V at the front that ends just above the heavily embellished waist 2" band. The band is heavily embellished with more of the bead work, but here it is set horizontally, so that it wraps around the waist. The skirt falls to the floor and widens out quite a bit as it nears the hem to perfectly balance that shape of the bodice. I love how the entire dress glimmers in the light. It is a work of art and I have never seen another one like it. Excellent condition.

Fully interlined in a pale ivory cotton muslin to help support the weight of the dress and then it is lined in a pale ivory silk. It zips to close at the back. It appears to have been worn very little if at all. Hand finishes throughout. Tagged a vintage Malcolm Starr 10. Note that there is no colour change in the dress. If the gold looks like it changes in hue any of the photos it is because of the lighting.

Bust: 16.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Bodice: 12" from top of the shoulder to the top of the 2" band at the waist 
Total length: 56" from top of the shoulder to hem with 2" turned under

Modern Sizing Equivalent: XS-SML

Item# DD4869

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

When we looked for photos of this dress we did found these incredible shots of Margo Robbie from 2019 in a dress that was attributed as being the twin of this one. The dress has that classic high quality that we expect from a Chanel mixed with the perfect eye and grace that Karl had. The exact thing that we love to see when collecting pieces from his many years at Chanel.

Everything about this dress has that chic Chanel feel that makes many of Karl's designs forever classics. Even with its simple cut, once in hand and you see how well it is made, it feels very Chanel. It is beautiful in person and the simple lines of it make it the kind of dress that you can wear multiple times with the styling and accessories you add making it feel different each time. It is made of densely woven black knit. On the bodice there is a subtle diamond pattern woven into the knit that gives it the perfect amount of added texture. The denseness of the knit through the body give the dress a slight 'bandage' effect so that it gives you shape and support. The dress falls from one shoulder and then the neckline curves around and under to the other side. I love that this leaves one shoulder exposed and bare. It hugs the body over the bust, around the waist and it is shaped to curve over the hips. The knit extends down and past the hips and then the lower skirt is inset into it in a series of little jagged points that is reminiscent to the way that you see dresses from the 20s and 30s. The skirt under that is also a knit but the pattern changes. The knit there has cut outs and a pattern that combines a very dense weave with a looser feeling weave. The design is set horizontally and this allowed him to make the skirt extremely full and open. There is a ton of fabric in the lower skirt. It still falls in a smooth line when you are standing but when you move, you really get the sense of all that gorgeous fabric around you. It is that perfect easy minimalist dress, but very flattering and with the added impact of being a Chanel. The dress is new with its original tag still attached and its original Chanel packet that has extra yarn/thread inside. Excellent condition

The dress has no closures and slips on to wear. Tagged a Chanel 40. The easy cut and slight stretch of the dress should allow it to fit on a variety of sizes. The measurements given below are the comfortable range when the dress is laying flat. 

Bust: 14.5-18" flat across from side seam to side seam
Waist: to 13.5-18" flat across from side seam to side seam
Hips: 17.5-22" flat across from side seam to side seam
Total length: 61" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4863

Reference Photos: Margot Robbie in Chanel by Art Streiber for Glamour Russia, August 2019.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

The twin of this dress was featured prominently in the 2016 exhibit at the Museum of FIT. This dress is often referred to as the fairy castle, or skeleton castle dress, because of the print that runs over the front of the dress. It is an interesting dress in that it is instantly recognizable as a McQueen piece, and yet it was not one that was featured on the runway. Despite being a museum exhibition piece, and one that is very well known, it was a piece produced for limited production in stores. He also produced an all black version of this dress, that you will see more often, but this printed version is far more rare. We have had that all black version as well and it was worn by Alix Earl to the Grammys before it was purchased. Besides the exhibition photo of the twin of this dress, we have included some photos of Alix in the all black version for you so that you can see how amazing this will be on the body. It is truly one of the more iconic McQueen pieces.

No matter how good you think that this dress looks like in photos or in its all black version on Alix, it is even better in person and moving. The dress is made out of a black bias cut silk that has a stunning grey scale scene printed over its entire front. I love that you literally feel like you are wearing a piece of art when you wear this dress. The dress is cut completely on the bias so it just glides over the body. It skims over the bust with a draped front that falls in a soft fold. The back is incredible and it is scooped down into a low draping that leaves a good portion of your back bare. From there  it skims past the waist and hips to the floor. The silk follows your curves and highlights the body underneath without it being too tight and fitted. Once past the hips the dress flares out as it nears the bottom so that it has beautiful movement when you move. The back is cut slightly longer than the front so you get a beautiful sweeping feel behind you. The dress is in its original uncut supermodel length. The design on the front features a castle that has winged skeleton fairies and leaf bare trees sweeping up and over it. The design is all printed into the silk to add the perfect amount of detail to the otherwise perfectly simple dress. It is just amazing. Excellent condition with a very minor note below

Fully lined in a black silk and closes with a hidden set side zipper. The measurements given below are the comfortable range when the dress is laying flat. Being bias cut the length may come up a bit once on the body and it should fit a range of sizes. There is a tiny area of thinning near the back hem on the outer fabric and I do see some scuffing and a couple tiny holes on the inner lining. Please see the photo after the label shot. Tagged a vintage McQueen 42

Bust: 17-21" flat across from side seam to side seam
Waist: 13-17" flat across from side seam to side seam
Hips: 17-22" flat across from side seam to side seam
Total length: 64" from top of shoulder to front hem, 67" to the back

Modern Sizing Equivalent: SML-LRG

Item# DD4862

Reference Photos/Video: (1) 2007 Alexander McQueen Gown on display at the Fairy Tale Fashion Exhibit at The Museum at FIT January, 2016.  /  (2-4) Alix Earle in Alexander McQueen from Shrimpton Couture, at the Grammys, 2024.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This gorgeous dress is from Mr. Valentino's final show before he retired. Its twin in a pale green walked the runway for Look 75 and we were very happy to find both runway shots and video for you to  see just how great the dress is on. Vogue said this last collection was; 'Crisply puncturing the potential for a predictable end-of-era wallow in sentiment, Valentino played it as an upbeat, fast-paced whirl of breezy, pretty, drop-dead gorgeousness that blew any lingering sense of ladylike stuffiness to the winds. If there's a problem, it's only being spoiled for choice. What to pick from the head-spinning plethora of dresses on offer?' This was one of my favourites of the show and I think it is even better in the more versatile black.

I love the contrast between the two types of silk used for the dress. It adds that little extra flash of interest when you see it. The dress falls from one shoulder and then drapes down and over the body to the floor. The shape is created by vertical seaming that run from shoulder to hem. The softer silk parts are bias cut and allow the dress to skim and drape over you so that is shows every curve but is not overly fitted. The seaming is intricate and beautifully done. A single shoulder panel curves over your shoulder and runs across the bust to the other side. There is a large bow set at the front of that shoulder and then a second bow sits just below the hip on that same side. The bodice curves down into the side panel on the bow side, draping down and along the curved panel that cuts across the body and extends down into the skirt. The waist is shaped by the vertical seaming. The skirt flares out and is quite wide by the time it reaches the hem. It sweeps around you as you walk and even more movement is created by the slit that runs from the hem to that pretty little bow. The dress is even better in person. It is an gorgeous example of his work and looks to have been worn very little if at all. Excellent condition

The bodice is lined and then the rest of the dress is unlined. It closes at the side with hidden set zipper. In its original uncut length and looks too have been worn very little if at all. Tagged a vintage Valentino 8

Bust: 16-17" flat across from side seam to side seam
Waist: 13-15" flat across from side seam to side seam
Hips: 18-19" flat across from side seam to side seam
Length: 62" from top of shoulder to front hem
Slit: 25" from hem up

Modern Sizing Equivalent: SML-MED

Item# DD4493

Reference Photos/Video: Spring 2008 Valentino, Look 75. Model Laura Blokhina.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

The Fall 2005 ready to wear show was called 'Propaganda' and for the pieces sold from her personal collection in the recent Christie's auction they referred to some of the information from the Vivienne Westwood Catwalk book which I will share here; With "Propaganda‘ Vivienne Westwood, more than perhaps any other fashion designer, understands the power of a garment to communicate a meaning and a message…The message was writ large: PROPAGANDA, in block lettering worked into multitudes of garments. The inspiration was an essay by Aldous Huxley, ‘Propaganda in a Democratic Society’, asserting – Westwood stated – that the world suffers from three evils: ‘Nationalist Idolatry’ in place of religion; ‘Non-Stop Distraction’; and ‘Organised Lying’. Headbands also bore the word ‘Branded’, reference to Canadian author and social activist Naomi Klein’s book, No Logo. Again, Westwood was challenging orthodoxy through her designs.’ --Alexander Fury, Vivienne Westwood Catwalk"

The collection also featured a segment of pieces that were a mix of stripes, silks and tulles in a variety of colours. The near twin of this set walked the runway and I love that we have video so you can see how fantastic this is on the body. The dress on the runway seems to have had a half skirt made of the white tulle that tied into place over the skirt. I think if you wanted the full on look, you could easily have that re-created. It is gorgeous worn without as well and perhaps a touch more wearable this way too. This might even make for a beautiful set for a bride who doesn't want to go the traditional route.

I love the soft dusty ballet pink silk striping combined with the ivory and soft green cotton striped fabric. The corset has one of her trademark flattened front bodices that is boned and shaped so that it angles towards the centre waist inside. It closes at the back with a zipper and then the silk buttons over itself so that the zipper closure is completely hidden. The top angles down on one side and she has inset a panel of white tulle from shoulder to the long point of the hem. Combining both the pale green striped pattern with the pink silk stripes over the bodice creates this wonderful contrast. The skirt is equally as remarkable. Again we see her play with the pink striping and the green, mixing them together in that perfectly Westwood way to create interest and shape over the body. I love that the zipper is set on an angle at the back of the skirt to follow the pattern instead of creating a vertical line across all of those angles. The skirt is meant to fit more snug around the hips and then flares out tremendously into a pointed hem around you. Under that layer you see a multi-length finish of tulle. Five layers of tulle are wrapped around you and sit over top of a heavy cotton muslin inner skirt for support. It is all constructed to have this incredible fullness and movement. I also took a close-up of the pink striped fabric so you can see the beauty of the secondary floral pattern that runs through the pink striping. No matter how good it looks in the photos the mix of colour and extraordinary patterning that the pieces have is just phenomenal to see in person. Both pieces appear to have been worn very little if at all. Excellent condition

The corset is lined in a combination of the green striped fabric and stretch lingerie netting. It closes with a zipper at the back and then buttons over the zipper as described above.  The front of the corset is fully boned, and the sides have stretch lingerie net. The skirt is lined in a pale pink silk above the cotton muslin lower portion of the skirt. It closes with an angle set zipper that follows a seam and a button at the waist over that. Both pieces are tagged a UK10 US6

Corset
Bust: 16.5" flat across from side seam to side seam
Waist: 12-13" flat across from side seam to side seam
Length: approx 15.5" from top of bodice to shorter side and 30" to the longer

Skirt
Waist: 12-14" flat across from side seam to side seam
Hips: 18-20" flat across from side seam to side seam
Total length: 45" from waist to longest points of the tulle of the hem

Modern Sizing Equivalent: XS-SML

Item# DD4861

Reference Photos/Video: Fall 2005 Vivienne Westwood.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This Oscar de la Renta dress is gorgeous and it is a definite statement piece. We believe this to be from the early 2000s and probably part of a bridal collection. It might even be a custom piece. His wedding pieces range from about $10000-$20,000 USD with the more elaborate ones like this tending to be in the upper range of that. Oscar launched his first bridal collection in October of 2002 and his wedding pieces have been worn by some of the most famous women in the world. He once said 'In the same manner that she fell in love with that man, I hope she's going to fall in love with that dress.' Countless brides have done just that. This gown is absolutely beautiful and if you are a bride looking for that very full princess feel and with the added pop of pink, this is the dress. 

The skirt of the dress is magnificent. Underneath the top layer are two layers of a pale smoky greyish white tulle and then that tops nine layers of pink tulle. Then under that are three more layers of a stiffen white tulle. Incredible! The dress is strapless to balance out the incredible volume that all of those layers create. The neckline is embroidered and finished with muted silver gold thread and tiny little pink beads, mixed with clear iridescent beads. This is all attached to the dress with pink thread. Inside the bodice there is a full built-in hidden corset that is boned and has underwire cups hidden under the pink silk lining. It nips in at the waist for shape and then the skirt explodes out in volume under that. I did not add any additional crinolines to the dress for these photos. The very top layer of tulle is covered with a scattering of tiny silver sequins and little clear beads that are fixed in patterns over the bodice as well as the skirt. This allows the dress to sparkle in the light from every angle it is seen from. The top layer of the skirt is gathered into the waist and on the sides it is gathered more so you get a bit of interest and draping of that top layer of tulle. The hem has been finished with an elaborate pattern that picks up on what you see on the bodice. On one side of the skirt the hem and tulle have been gathered up and into a pink bow for the perfect little finishing detail. If you needed the dress to feel even fuller you could have the inner layers starched and you would get even more volume. I love the bareness of the shoulders the strapless silhouette gives you. It is the perfect balance to that full princess skirt. Gorgeous. Excellent condition with a minor note below

The bodice is lightly boned with wired inner cups under the lining for structure and support. The dress closes at the side with a hidden set zipper. Multiple layers of built in tulle and skirting as described above. I do see some tiny breaks in the net and you will see the occasional missing bead or sequin or loose thread. 

Bust: to 18" flat across from side seam to side seam
Waist: to 18" flat across from side seam to side seam
Hips: open
Bodice: 9" from top of bodice to waist
Total length: 50" from top of bodice to front hem, 52" to the back 

Modern Sizing Equivalent: MED-LRG

Item# DD4860

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

Bellville et Cie was founded in 1953 by Belinda Bellville who later launched the Bellville Sassoon label in 1970 with David Sassoon. When the label was originally launched it was as a couture house and pieces were produced one at a time and by hand for Belinda's clients. It became the go to label for London society and in 1970 David was brought on to help Belinda meet the demand for dresses that she has created and move into ready to wear as well. The label found worldwide fame after Princess Diana became a client. The original label for the brand in those first early years when it was just Belinda creating each dress in her small couture atelier was Belleville et Cie as you see in this dress. It is a very rare label to find. 

The dress is spectacular. It is made out of a silk ivory net that has a little pink chiffon swirls that have been attached by hand and cover the surface of the entire dress. Holding each little pink bit of silk in place is a cluster of beads that are set to dangle off of the dress. This creates a beautiful 3D effect over the entire dress. The neckline angles down into a V and the edge of the neckline are finished with an band of that same pink silk chiffon. The top net layer of the bodice is set over the inner lining so that it sits out and slightly over the pink silk satin ribbon that runs around the waist. The ribbon is attached and adds definition and adds a little detail around the waist. The skirt falls to the floor and gently widens out as it nears the hem. The back of the skirt is cut slightly longer than the front and there is a touch more fabric there so you get a beautiful sweeping field as you move. The volume of the skirt is held by the several layers of tulle underneath that sits between the netting and the inner lining. At the back it dips down into a V for a little bit of skin to show there. It is an extraordinarily well made and wonderfully beautiful dress. Excellent condition with a minor note below.

The dress is fully lined in an ivory silk and there are built in underskirts through the skirt. It closes with a back painted metal zipper and the belt hooks into place at the back over that. The net of the bodice snaps into place over the inner zipper. There are some very faint marks along one side of the skirt and perhaps a very faint spot here and there on the skirt, but nothing outstanding. Please see the photo after the label shot. Made to Couture standards and completely made by hand. I have added some detail shots that include one of the hand done inner seams.

Bust: to 19" flat across from side seam to side seam
Waist: to 13.5" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Bodice: 13" from top of shoulder to top of band at the waist
Total length: 60" from top of shoulder to front hem, 61" to the back 

Modern Sizing Equivalent: SML-MED

Item# DD4859

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This is one of three spectacular and extremely rare Dior pieces by John Galliano from the 2008 Resort collection. This dress is the twin of the dress that walked the runway for Look 60 and it is a very rare piece to find. Vogue said that the collection was done "in an electric-bright palette.. and channelled Barbara Hutton's sixties—a glittery, lame, paisley, and leopard-print world of muumuus, bikinis, capri pants, trapeze dresses, cat-eye sunglasses, and scarf-wrapped hats. It bordered on camp... and Kitschy or not, there was no denying the workmanship that went into crafting the large collection." I love having the runway photos that give you an idea of how fantastic this is on the body. It is absolutely brilliant and a true jewel.

Just as a side note and to give you an idea of the cost of these beaded pieces by Dior, the coat that I have from this collection has its original price tag and in 2008 it was US$16,775 and it is the simplest of the three pieces design wise. Even though that is only 16 years ago, the inflation value of that in 2024 dollars is about $25,000. And that is not even taking into account the value that John Galliano adds to the equation!

The fabric of this dress is incredible. It is a brilliant blue silk brocade that has a floral pattern running through it that is made from a silver thread woven into the silk. The bodice has been heavily detailed with silver sequins, beads and rhinestones. It is incredible to see. The design runs over the entire dress and the dress seems to almost glow from within as a result. The silver thread has been done in such a way that it feels like it sits within the base a bit which gives the design this fabulous bit of extra texture. The blue has a very rich and vibrant feel to it and in person the entire dress has a more luminescent effect to it then how it photoed. I know the person who buys this will be very pleased once they see this one in real life. The bodice is strapless and it is cut to curve around the bust with an built in cupped, wired and boned inner corset. The inner dress begins just below the bust with a natural waist that curves in by the cut alone. There is no seam there to break the eye. It is shaped from there to curve out and over the hips. From there it falls to the hem, slightly narrowing in as it reaches the floor. A slit at the back allows enough room to walk. Over this is a huge over skirt that is set in to that seam under the bust with a little flared peplum that wraps all the way around you. The over skirt is incredibly full and billows out around you as you walk. It is cut and open down the centre at the front so that you have incredible movement like you see in the runway video. Above that the entire bodice is detailed with silver beads, sequins and prong set rhinestones. These are set on top of the floral pattern of silver underneath and are densely applied for a touch of a 3D feel. It is stunning. The construction of this dress is impeccable. It is also drop dead gorgeous and even better in person. Excellent condition

Fully lined in a blue silk. There is a full built in netted corset with lightly padded underwire cups and boning. The corset closes with its own set of lingerie hooks and then the dress closes over that with a hidden set zipper. There are little loops inside the bodice that you could add straps if you wish. Fabric could be stolen from one of the inner hems to make them. If having them is important to you, let me know when you purchase and I can have those made for you before shipping the dress. Tagged a vintage vintage Dior FR40, GB12, IT44, US8

Bust: 16-17" flat across from side seam to side seam with room for up to a B-maybe small C cup at the front
Seam under the bust: 15" flat across from side seam to side seam
Natural waist: 15.5" flat across from side seam to side seam
Hips: 19.5" flat across from side seam to side seam
Total length: 54" from top of the bodice to inner hem and 55" to the hem of the over skirt, with approx 2" turned under both hems

Modern Sizing Equivalent: SML-MED

Item# DD4858

Reference Photos/Video: Resort 2008 Christian Dior Runway, Look 60.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This is one of three spectacular and extremely rare Dior pieces is by John Galliano from the 2008 Resort collection. This piece is particularly interesting because it can be worn as a coat like it was presented on the runway or as more of a caftan dress if layered over something underneath. On the runway it was shown as a sort of half dress/coat over peg leg trousers. Its twin help to open the show and walked the runway for Look 2. Vogue said that the collection was done "in an electric-bright palette.. and channelled Barbara Hutton's sixties—a glittery, lame, paisley, and leopard-print world of muumuus, bikinis, capri pants, trapeze dresses, cat-eye sunglasses, and scarf-wrapped hats. It bordered on camp... and Kitschy or not, there was no denying the workmanship that went into crafting the large collection." This one is new with tags and was never worn.

Just as a side note and to give you an idea of the cost of these beaded pieces by Dior, this coat has its original price tag and in 2008 it was US$16,775 and it is the simplest of the three pieces design wise. Even though that is only 16 years ago, the inflation value of that in 2024 dollars is about $25,000. And that is not even taking into account the value that John Galliano adds to the equation!

The fabric of the coat is beautiful. It is a brilliant turquoise blue silk faille that has a paisley pattern running over it in green and paler shades of blue mixed with small pops of white. The entire upper bodice and sleeves have been heavily detailed with clear and coloured crystals that catch the light brilliantly and add to it sixties feel. The beads and rhinestones go all the way across the upper back and around to completely cover the shoulders. There are five rows that wrap around the  neckline and then there are long marquis shaped medallions made out of the same clear and coloured rhinestones that sit under that. When you look at the design closely, you can see the care that has been put into making sure the pattern is uninterrupted over where it passes over seams or around that inverted pleat at the back. Another five bands circle each cuff on the sleeves and more medallion sit above that. It is just spectacular. The coat / dress hooks at the top of the neck and then there is a hidden panel where it snaps closed to just about the top of the hips. From there it is open with no closures to the hem. The shoulders are dropped, and the cut is loose and easy all through the body. It is meant to feel slightly oversized. There is a seamed inset that runs around the top of your shoulders and then there are two little faux flat pockets on each side at the front. Each faux pocket sits above an inverted pleat that runs all the way to the hem and then there is another inverted pleat that runs down the middle of the back. It already widens out substantially as it falls to the floor and this extra pleating gives it even more volume. It is like he took a sixties hostess piece and exaggerated it to the extreme. The sleeves are very wide and full and each falls to just below the elbow. The caftan is lined in a brilliant turquoise silk and this flash of the solid blue colour is fantastic when you move. You can wear this so many ways. It works over something light and easy almost like a dress. You could wear it over pants like it was worn on the runway, or use it as a light evening coat. You could probably add a soft or structured belt to add shape if you wished and add even more to its versatility. I love that you can wear this in so many ways. This is very special and are rare piece of John's history and time at Dior and it is also very beautiful. Original Dior packet with extra beads included as well as the original price tag. Excellent condition.

Fully lined in a turquoise blue silk and hooks to close at the front as described above. You could add more hooks so that it closes more down the front if you wished. Its easy and open shape should allow it to fit a range of sizes. The occasional missing stone but there are extras in the packet and nothing that you would ever notice unless inspecting closely. Tagged a vintage Dior FR40, GB12, IT44, US8

Sleeves: approx 21 from top of natural shoulder and are 16" around the upper arm
Dropped shoulders: 18.5"
Bust: to 21" flat across from side seam to side seam
Waist-hips: open
Total length: 55" from top of shoulders to hem with approx 2" turned under the hem

Modern Sizing Equivalent: SML-LRG

Item# DD4857

Reference Photos/Video: Resort 2008 Dior Runway, Look 2. Model Tanya Dziahileva.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This is one of three spectacular and extremely rare Dior dresses by John Galliano from the 2008 Resort collection. This version is one produced for the shops in limited quantities and it is the only one of the three whose twin did not walk the runway. It is based on the runway Look 60 and it is made out of the same amazing fabric as the twin of that look that I also have today. This one is just more body conscious. Vogue said that the collection was done "in an electric-bright palette.. and channelled Barbara Hutton's sixties—a glittery, lame, paisley, and leopard-print world of muumuus, bikinis, capri pants, trapeze dresses, cat-eye sunglasses, and scarf-wrapped hats. It bordered on camp... and Kitschy or not, there was no denying the workmanship that went into crafting the large collection." I love having the runway photos that give you an idea of how fantastic this is on the body. It is beautiful

Just as a side note and to give you an idea of the cost of these beaded pieces by Dior, the coat that I have from this collection has its original price tag and in 2008 it was US$16,775 and it is the simplest of the three pieces design wise. Even though that is only 16 years ago, the inflation value of that in 2024 dollars is about $25,000. And that is not even taking into account the value that John Galliano adds to the equation!

The fabric of this dress is incredible. It is a brilliant blue silk brocade that has a floral pattern running through it that is made from a silver thread woven into the silk. The bodice has been heavily detailed with silver sequins, beads and rhinestones. It is incredible to see. The design runs over the entire dress and the dress seems to almost glow from within as a result. The silver thread has been done in such a way that it feels like it sits within the base a bit which gives the design this fabulous bit of extra texture. The blue has a very rich and vibrant feel to it and in person the entire dress has a more luminescent effect to it then how it photoed. I know the person who buys this will be very pleased once they see this one in real life. The bodice is strapless and it is cut to curve around the bust with an built in cupped, wired and boned inner corset. Just below the bust there is a wide band of the same fabric that has been hand gathered in and around you for added detail and shape. The natural waist below that curves in by the cut alone. There is no seam there to break the eye. It is shaped from there to curve out and over the hips. From there it falls to the hem, slightly narrowing in as it reaches the floor. A slit at the back allows enough room to walk. The entire bodice is detailed with silver beads, sequins and prong set rhinestones. These are set on top of the floral pattern of silver underneath and are densely applied for a touch of a 3D feel. At the back there is a large bow that sits over the zipper and its ties extend down to conceal the closure down your back. Even in the areas that are hidden by the way the panel sit or the bow sit, all of the fabric underneath is still properly finished with the bead work underneath. It is stunning. I also love that this one has detachable straps so you can wear the dress with or without them. The construction of this dress is impeccable. It is also drop dead gorgeous and even better in person. Excellent condition

Fully lined in a blue silk. There is a full built in net corset with lightly padded underwire cups and boning. The corset closes with its own set of lingerie hooks and then the dress closes over that with a hidden set zipper. The bow at the back snaps into place over the zipper. Hand finishes. Tagged a vintage vintage Dior FR36, GB8, IT40, US4

Bust: 16-17" flat across from side seam to side seam with room for up to a B-maybe small C cup at the front
Seam under the bust: 15" flat across from side seam to side seam
Natural waist: 15" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Total length: 55" from top of shoulders to hem with approx 2" turned under the hem

Modern Sizing Equivalent: SML-MED

Item# DD4856

Reference Photos/Video: Resort 2008 Christian Dior Runway, Look 60.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

Each piece that John Anthony made was on a made-to-order basis, which means that each piece is the only one that exists, or in the very occasional circumstance that there are similar pieces made, only a very limited amount of pieces were done. All of the pieces I currently have in the shop come directly from John's archive. 

He is one of the great American couturiers and he was known for his sharp tailoring and striking evening wear. He launched his atelier in 1971 and he quickly rose to fame, winning a Coty award in 1972 and then again in 1976. This is the original sample of this piece from his archives. We found a series of photos of pieces with the same bead work so you can get an idea of how beautiful they are on the body.

The dress is made out of a feather light deep brown silk chiffon. Glass tube beads are set in vertical rows over both pieces and all of the beads have been applied by hand in perfect little rows onto the silk. I love how they catch the light from every angle. Both pieces have a simple and easy cut so that they are easy to wear and are very flattering on the body. The neckline is scooped and closes with a hook and eye at the back of the neck above a keyhole. The sleeves have the same bead detailing and then they fall in a straight cut to the wrist for a touch of fullness. The bodice is cut to skim loosely over you to the waist. The waist is finished with elastic which lets the silk pouf under a touch. The skirt has a banded waist and falls to the floor under that. It flares out a touch as it nears the hem. It has a high slit on one side for a flash of leg to show. They are gorgeous when worn together. The work has all been done by hand and the workmanship is fantastic. They fall like a dream once on the body. Excellent condition with a minor note below

Fully lined in a second layer of nude silk chiffon. The top closes with a hook and eye above a keyhole at the back of the neck and has elastic at the bottom seam. The skirt closes with hook and eye at the waist and a zipper under that. A tiny area of missing beads here and there but nothing major. Please see the photo after the label shot. The sample tag is stitched inside the cuff of one sleeve.

Top
Sleeves: 23"
Shoulders: 14.5"
Bust: to 20" flat across from side seam to side seam
Waist: to 21" flat across from side seam to side seam
Bottom seam: 14-20" flat across from side seam to side seam
Length: 27" from neck to hem

Skirt
Waist: 12" flat across from side seam to side seam
Hips: to 20.5" flat across from side seam to side seam
Length: 45" from waist to hem
Slit: 27" from hem up

Modern Sizing Equivalent: XS-SML

Item# DD4571

Reference Photos: Fall 1981 John Anthony Ready to Wear Advance Preview.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This remarkable dress is the twin of the one that walked the runway for the Fall 1986 Rive Gauche collection by Yves Saint Laurent. I was so pleased to find a shot of it on because it really shows you just how much it comes to life when worn. He did several variations of this look for that season and this deep brown velvet with its leopard print within the velvet is one of my favourites. I am obsessed with his work and this one is so well known, especially since other designers have copied it (most notably Gucci when they did a green version of this dress). It is a pleasure to have it in the shop.You can see that they belted it on the runway and you could certainly add a belt to add more shape to this one as well.

This gorgeous dress is made out of a brown silk velvet with a leopard print done in a different finish of velvet within the fabric. This pattern gives the velvet an extra depth and richness, and also catches the light as you move. It is stunning. It drapes absolutely beautifully over the body. It is really an outstanding fabric. The bodice is set into a deep V that crosses over itself where it is set into the waist. Without a belt it has a more deeply plunged feel but you could cross it over a bit more and have a sash or belt hold it more closed if you wished. In a classic Yves shape, it drapes loosely over you at the front with a touch of extra fullness. The waist is seamed and cut slightly on the more generous side. The top of each shoulder is gathered and the sleeves start out very wide and then narrow down to a zippered cuff. The skirt falls to the floor in a pretty sweep of fabric. Extra fabric has been gathered down the centre of the front for a little added detail. It makes it so glamorous and it gives the dress a bit of a wonderful 1940s feel too. It is a gorgeous dress and a wonderful piece of his fashion history. Excellent condition

Unlined and closes with a side set zipper. Each shoulder has very light padding and each cuff has a hidden set zipper. It appears to have been worn very little if at all. Tagged a vintage YSL 42. 

Sleeves: 23.5"
Slightly inset shoulders: 14.5"
Bust: 16-20" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Hips: to 24" across lowest seam at very top of hips, open under that
Bodice: 17" from top of shoulder to slightly dropped waist
Total length: 59" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4855

Reference Photo: Fall 1986 Yves Saint Laurent Runway.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

I had a dress similar to this in the past and I think I love it even more this time around. It is a beautiful example of the genius of Mr. de la Renta's work and his attention to detail. It has a beautiful elegance to it and is quite striking. This sense of refinement is a constant in Oscar's work and I particularly love these earlier examples of that aesthetic. You can see how many of the elements you see in pieces like this were carried forward through his entire body of work.

The dress is made from a sheer brown silk chiffon with a built in under-dress done in a lightweight brown silk chiffon. This makes it wearable, but still gives you the depth of the top layer that has a slight transparency to it. The fabric is beautiful. Depending on which direction the pile of the velvet is in, the colour morphs from a deep charcoal grey to a more taupe grey colour. Stitched in and around the velvet is a deep reddish copper metallic thread that gives the entire dress a subtle glint. The sleeves are incredible. They are unlined and they are incredibly full so that they pouf out above the cuffs. The bodice is cut to skim over you and then is brought in so that it blouses up and over the seam at the waist. The waist has elastic running through it so it is incredibly easy to wear. The skirt falls to the floor from there. The shape is fairly long and slim with just a touch of widening out at the hem for a lean silhouette. At the back there is an open keyhole under the closure there. I love this little unexpected and subtle flash of skin. It is a beautiful example of his work during this time period. Excellent condition.

Fully lined with an inner built in dress made of a nude and black silk chiffon stacked on top of each other. The sleeves are unlined. The inner dress closes at the back with a hand set snaps. The outer fabric snaps and hooks over that. Elastic through the waist and each cuff has elastic. Hand finished throughout. In its original uncut length. It looks to have been worn very little if at all

Sleeves: 26" and they are 26" around the upper arm
Shoulders: 15"
Inner bust: to 18" flat across from side seam to side seam
Elastic waist: 13-19" flat across from side seam to side seam
Hips: 18-22" flat across from side seam to side seam
Bodice: approx 16" from top of shoulder to waist. The elastic at the waist will let you wear it up or down a bit as needed.
Total length: 64" from top of shoulder to hem

Modern Sizing Equivalent: SML-LRG

Item# DD4764

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Loris Azzaro launched his label in 1967 and quickly defined his trademark looks by his avant garde way of defining the body. His work was shockingly sexy for the times. 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. The label had a certain French flare that women world-wide loved. By the seventies and eighties he was experimenting with volume and proportions and new fabrics that at the time were all cutting edge. This is a stunning example of his work during the mid-seventies. When researching we found several examples of dresses from 1973 that combined the same jagged flame cuts with sequins. I have included some of those so you can get an idea of how great this looks on the body. 

This is a gorgeous dress and it is a dress that will really come to life once on an actual body. The body of the dress is covered with densely applied black sequins. They make the dress shimmer beautifully as they catch the light. The sequins start at the shoulder run down the sleeves, over the bodice, waist and hips and then stop about mid-thigh depending on your height. The skirt is set into the sequins in pointed angled that reflects the points of the hem. The skirt part is made from 12 individual panels that are set side by side all the way around. Each panel is a single layer of black silk chiffon that is incredibly light in weight. When you move they move around you. Each panel has only been attached at the top so you also get glimpses of your legs between each panel as you move. It is incredibly sexy. The same silk chiffon is set into the upper bodice and then the back has a huge cut out that is filled with the silk chiffon that dips into a low scoop. It buttons down the back can you see a hint of skin between each button. I love the pointed finished all around the scoop at the back. It is fantastic once on. Excellent condition

Fully lined through the body in a black silk. It closes with buttons down the back and each sleeve has a zipper at the wrist. One of his signature strapless bras is attached inside the bodice which could be easily removed if you wish.

Sleeves: 23" and are 12" around the upper arm
Shoulders: no defined seam
Bust: 16-18" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: to 19.5" flat across from side seam to side seam
Length: 59" from top of shoulder to the longest point of hem

Modern Sizing Equivalent: SML-MED

Item# DD4347

Reference Photos: (1-3) Marisa Berenson in a Loris Azzaro. October 1973. Photo: Michael Holtz.   /   (4) The cover of the book "Azzaro" for Assouline - Marisa Berenson and Loris Azzaro photographed in 1973, for issue 604 of L'Officiel de la Couture et de la Mode de Paris, by Roland Bianchini.  /  (5) Image from the book "Azzaro: Fifty Sparkling Years"  /  (6) Magazine spread featuring a model in Azzaro, 1973.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

Louis Feraud opened his first boutique in 1950 in Cannes selling sundresses to the jet set. When Brigitte Bardot was photographed in a white pique and lace number, he became the darling of the fashion world. By 1956 he had moved to Paris and opened a couture atelier and in 1960s made his first official couture presentation. Ready-to-Wear followed in 1970. He won the Golden Thimble in in 1978 and again in 1984. Women like Elizabeth Taylor and Brigitte Bardot were huge fans of the label. This is a wonderful sequin and silk chiffon dress that showcases his depth as a designer. It is just exceptional.

The dress has the bit of a high glamour vibe to it that is fabulous. The sequins make it feel so special and I love the use of the silk chiffon for the upper shoulders and sleeves. The chiffon is set wide across the neckline so you get just a hint of the tops of your inner shoulders showing. It runs down to the bodice on the front and back where the sequins start and it also extends out into those phenomenal sleeves. The body of the dress is made out of a dense application of black sequins, set on top of a chiffon, which gives it a touch of structure but still keeps the dress feather light. It is cut fairly straight over the body so that it just floats beautifully over you once on. A slit on one side that runs up from the hem allows for a bit of leg to show. Outside of the glamour of the sequins it is the sleeves that are the star of this dress. Each sleeve has three tiers of pleated silk chiffon added to it. These start just under the base of the arm and are stacked over each other to the wrist. It gives it a stacked pagoda sleeve feel that is just insanely good. The contrast between all of that detail on the sleeve, the sequins and ease through the body of the dress is the perfect mix. Excellent condition

The body is lined in a satin finish rayon and the upper bodice and sleeves are unlined. It closes with a back zipper that starts at the sequins and there is a button to close behind the neck. Tagged a Feraud 40

Sleeves: 24" and are 14" around the upper arm
Shoulders: 15"
Bust: 18" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Hips: to 19.5" flat across from side seam to side seam
Total length: 57" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4854

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The twin of this dress was the closing look of the Fall 2019 collection and it is a fantastic piece from Clare Waight Keller's time as Creative Director for the house. Clare described the collection as “The Winter of Eden” and in the Vogue review of the collection the evening pieces in particular were of note; "thanks maybe to her Couture work and her string of red carpet wins, Waight Keller has a lot to say about after-dark sparkle which she handled with a good deal of meticulousness. She also played around with volume, tapping a double breasted corset jacket with a deep flounce of crinkle taffeta and a black gown with an exuberantly poufed sleeved midnight blue bolero in the same demonstrative fabric". This is the dress mentioned in that review and once it went to the shops it was sold separately from the bolero that you see on the runway. I personally prefer it on its own, as did my client, who bought it without. The dress is new with its original hang tag and has its extra thread and sequin packet. It also has its original price tag of $11,520USD. I think Givenchy has since gone beyond that in price point but still a staggering number.

The dress is amazing. It is made out of a fine wool that has a touch of a texture to it. Long triangle shaped silk chiffon panels are set into the skirt to give it the shape that you see and then the entire dress has been finished with a design made from silver beads, silver metal thread and tiny silver sequins. The bodice is kept almost sculptural in cut. The neck is scooped and there are no sleeves. It skims over the bust and it is shaped to come in slightly at the waist. From there it begins to flare out into the volume of the skirt to the floor. The skirt is in its original uncut length and the dress was never worn so it is pristine. As you look at it closer you realize that the dress is made from panels that are all pieced together side-by-side vertically and this starts right from the shoulders. Each is cut on a curve to create the shape around the body. A fantastic example of meticulous tailoring. There are ten of them in total that wrap vertically around the body and extend all the way to the hem. Each panel was then covered in a pattern that suggest flowers on long trailing branches. The applique work ends at different points along the panels with some reaching almost to the hem. I love the unexpectedness of not having them all perfectly end at the same point. The silk organza inserts are a full 30" across at their base and then they narrow to tiny points as they run up the dress in between the wool panels. They end at around the top of the hip. I shot the dress laying out more flat as well so you could get an idea of how much fabric and volume is actually through the skirt. When you are standing still you do get that sense of volume but it is when you move that you truly get the sense of the yards and yards of silk that are hidden in the skirt. Truly phenomenal and an extraordinary piece of the label's history. Excellent condition 

The skirt is lined in a black silk and it closes with a hidden set back zipper. Tagged a modern 36 but generous in cut. New with its original tags and has its extra bead, sequin and thread packet and original price tag. 

Bust: to 17.5" from side seam to side seam
Waist: to 16" flat across from side seam to side seam
Hips:to 23" flat across from side seam to side seam
Total length: 65" from top of the shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4853

Reference Photo/Video: Fall 2019 Givenchy, Look 64. Model Juliane Gruner.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This dress is from the Spring 1977 Bill Gibb collection. In the book, 'Bill Gibb: Fashion and Fantasy' they quote him as saying "for next season, I am going to do semi-sport, separates like a little boy with shorts, something I've never done before... women want to get into pretty clothes" It goes on to describe the invitation for the show as 'a barefooted girl, wearing a simple empire line dress in a garden, surrounded by a garland of flowers' and of the show itself...'Gibb presented one of his most delicate looking collections, combining his cute boyish styles with pastoral illusions… embroidered cheesecloth and broderie anglaise. Even though he called this his flowers and lace collection, Gibbs discerning eye insured the look never became two sugary sweet by punctuating the collection with splashes of black. He said "I like a dress to have great richness. There are many ways to do this like a black cat printed on the hem of a starkly white dress, or I use black and white next to a coloured pattern fabric... It is incredibly effective". We are also very pleased to have found a photo of the dress on the runway. It is an incredibly rare and gorgeous little dress.

Bill Gibb is one of my favourite designers and I am always extremely pleased to be able offer an item from him as they are very hard to find. The really good ones especially, never mind when one is documented like this one is. It is also a gorgeous dress in its own right. I love that this showcases exactly what he said above about using black as a means to contrast and add "richness". It is a dress that in someways is simple but it has huge impact. The halter is made out of a black silk that has a pink ribbon defining all of the seams and edges. The ribbon extends out from the side of the bust to curve up and over your shoulder attaching at the edge at the back. Where the front scoops down into a V ribbon also extends out from there and these ones tie behind the back so that the ends trail down against your bare skin. Using the ribbon to define the seams visually creates six panels around you. Each of those has been hand detailed with tiny silver pink beading, opaque white beads and pink embroidery to form little flowers to perfectly fit into the theme of the collection. It is the prettiest detailing. The halter falls into a V at the front and then the ribbons cross over themselves and there is a open keyhole under that to the waist. At the back, the vertical edges sit several inches apart from each other to add even more to the bare and open feeling it has. The skirt is equally as amazing. It is made out of a white cotton inner skirt and then has an attached over skirt that does not fully meet at the front. The interior skirt is finished with a wide layer of cotton lace at the hem and then the attached top layer starts with a ruffle at the waist. It has five more layers of ruffles as it travels to the hem. The skirt is incredibly full. An interesting little detail is that the inner skirt has pockets and this allows you to put your hands into those pockets and hold the outer skirt away to the sides. This will give you more of the feel that you see on the runway photo. This is an extraordinary little piece and could not be more rare. Excellent condition.

The inner skirt acts as the lining and the halter is lined in an ivory silky rayon. It closes with the tie at the back of the neck and then hook at the back of the waist and has a zipper below that. Pockets on the inner skirt. Sized a vintage Bill Gibb UK 10. 

Bust: 15-16" flat across from side seam to side seam
Waist: 12-12.5" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of shoulder to top of the band at the waist
Total length: 48" from top of shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD4850

Reference Photos: Spring 1977 Bill Gibb.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.