The dress comes directly from the original couture client and is in immaculate condition. It was ordered and made on the same time 1985 period as the crystal bow dress I am listing today. This is an exceptional example of Valentino's Haute Couture work that he was doing during the 1980s. Finding pieces from this time period in such immaculate condition is a rarity and I am very pleased to have this beautiful dress in the shop. 

This dress is divine. The lines of it are beautiful and as good as it looks on the dress form it is perfection on an actual body. Couture pieces are very difficult to truly show in a photo as they are meant to highlight and show off the body and only truly come to life when worn. The bodice of this dress is made from an inky black silk velvet. It is fitted and nipped in at the waist. One shoulder is left bare and the other is encased in a sheath of velvet. The sleeve is cut to the wrist and the shoulder is set to be high and capped with a pretty gathered seam set on an angle on both the front and the back. The shoulder pad underneath is hand formed so that it is rounded to flow and exaggerate the curve of the shoulder. The skirt is wonderful. It is set into the waist in a series of soft pleats that help to give it the fullness that you see. It is very full and cut with a nod to the skirts of the fifties. It is made from a gunmetal silk taffeta that has wide panels of velvet flocking fused to its surface. These wrap around the skirt in three bands starting just under the waist and ending just above the hem. The inner construction of the skirt is amazing. The outermost layer is backed in a silk organza and all of the seams are hand finished along their edges. Set inside the skirt is that startling emerald green silk taffeta underskirt that is built into the dress. It falls below the hips and then has a second ruffled piece nearer the hem for fullness. This is placed into the interior by hand and backed in silk. There is a wide strip of stiffened net running though the two inner hems. It is cut very full to give the skirt its shape and volume. Plus the unexpected flash of green when you move a certain way or sit is fantastic. It feels very tactile on to have all these skirt swirling around you as you move. It really is wonderful and an amazing example of his earlier Haute Couture work. Excellent condition. 

The bodice, skirt and underskirts are all lined and backed in silk. The sleeve is self backed. Done with Haute Couture construction techniques and it closes with a hidden set metal zipper at the side and then has silk covered snaps and a secondary zipper on the side of the skirt. I have photoed this for you. Inner waist stay hooks to close. Hand made padding on the shoulder and light boning at the side of the bodice around the zipper. A fine metal zipper to close the end of the sleeve. Built in underskirt with stiffened inset at the edges as described above. 

Sleeve: 22.5"
Bust: 17.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 15.5" from top of bodice to waist
Skirt: 31.5" from waist to hem with 4.5" turned under the hem

Modern Sizing Equivalent: SML-MED

Item# DD3553

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

This is a beautiful example of Valentino's Haute Couture work that he was doing during the 1980s. The bow in particular was an important element of the collections that year and it is the highlight on this dress. We were able to find the runway photo of this look as worn by the beautiful Amalia Vairelli which shows you just how gorgeous the dress is once it is on an actual body. The dress comes directly from the original couture client and is in immaculate condition.

The dress is fairly simply in its cut and it is not until it is on the body that it really transforms. I love that the more you look at it, the more you begin to see the many couture details. At first glance the dress appears to be a skirt and jacket but this is all an illusion as it is all one piece. The inner part of the dress is a black silk crepe and this is cut to create the illusion of wearing a  simple scooped top and pencil skirt under a jacket. Over this he has used an inky black velvet that is cut to look like a sharply tailored jacket over an inner dress. It has bold shoulders and long sleeves. It swoops down at the front on a curve to the waist where it is caught up in a 3D crystal encrusted bow. The lower part of the 'jacket' then curves down and around the hips. This is Haute Couture under the masterful hand of Mr Valentino himself and is an exceptional example of earlier Valentino Couture. Excellent condition.

Fully lined in handset, very high quality black silk crepe. Done with Haute Couture construction techniques and it closes with a hidden set metal zipper at the back. Inner waist stay hooks to close. Hand made padding at each shoulder. Signature faceted jet buttons on each cuff and all the buttonholes work. The inner waist stay is smaller then the actual waist so if you needed the room you can just wear it without hooking the stay closed. 

Shoulders: 15.5"
Bust: 17.5" flat across from side seam to side seam
Waist: 18" flat across from side seam to side seam and the inner waist stay hooks at 24"
Hips: 19" flat across from side seam to side seam
Length: 41" from shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3552

Reference Photo: Amalia Vairelli for the Fall/Winter 1985-86 Valentino Haute Couture Runway Show.

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

The twin of this dress was worn by Yasmin Warsame on the runway that season and you can see just how fabulous the dress moves. The key pieces from this collection, including this dress, were sold out or waitlisted around the globe despite their high price tags. Sarah Mower of Vogue said of the spring show: "In a season when India is inspiring so many collections, Etro—which uses a paisley print as its brand identity—is more entitled than most to roam the subcontinent. Sure enough, that's where the collection went, but via the seventies hippie route." This dress was mentioned specifically; "One of the standouts—which could make a lovely entrance at any party—was a long, flowing seventies-style dress with belled sleeves, detailed with pinwheel pleating in the Empire bodice."

This was Look 19 in the show and is truly fabulous. It is very flowing and beautiful and I would hazard to say that it is one of the stand out Etro pieces from any of their collections to date. It almost has the lines of an Ossie Clark and the print of a Zandra Rhodes. The top portion drapes over the bust and has a deep V at the front. The fabric has been gathered in and there is a topstitched pin tuck circle there that is quite wonderful and a unique detailing. Long attached ties sit on either some of the waist and they are long enough that you can leave them draped down the back or bring around to the front and wrap them around you. The skirt flows from under there in a pretty soft expanse of silk. There is a great deal of fabric in the skirt and this is what creates that wonderful movement as you move. At the back the dress closes with a tightly spaced row of silk covered buttons and loops. A tremendous amount of work and detailing. The sleeves are spectacular. each is cut extremely long so that once n they are caught up and the wrist the fabric over just drapes snapped flowers around the arm. The silk chiffon is a beautiful quality and light as a feather. Excellent condition.

The bodice and sleeves are unlined the skirt has an inner lining of an ivory silk. It closes At the back the dress closes with a tightly spaced row of silk covered buttons and loops. There is perhaps the slightest smudge under one arm near the seam but look to have been worn very little. Any yellow areas on the dress are lighting. In person the black part off the print is a true black and the white chiffon is white. The underskirt through the skirt has a touch of a cream color to it. Tagged a modern 44

Sleeves to the end of the actual cuff is 32" and then the extend from there. They do of course come up once on
Shoulders: 15"
Bust: to 18" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam and ties in with the ties
Inner hips: to 24" flat across from side seam to side seam
Bodice: 15" from top of bodice to waist
Skirt: 43" from waist to front hem, 46" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD3551

Reference Photos: Yasmin Warsame for Etro Spring 2005, Look 19.

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

This dress hit a cord with everyone. It is one of Stella's most worn dresses of that season and perhaps one of the most worn dresses of the year period. It was sold out world-wide as a result despite its $5000+ price tag. Edie Falco chose it as her Emmy's dress, saying of her choice; 'It was suggested to me and I immediately loved it. It's very comfortable and it's very easy.' Gwenyth wore it to the Grammys. Brooklyn Decker, Kira Miro & Tess Daly all wore it to their premieres. It landed on the cover of Femina Magazine and there are probably more photos I have yet to discover as well. Vogue said the collection was 'how women want to dress now.' 

The presentation of her evening wear collection that season was not the usual runway show. Instead McCartney used a 'flashmob' approach. Instead of a traditional catwalk show, she invited 100 people for dinner. She herself was was seated with Anna Wintour and Rihanna, with Kate Moss close by. Then during dinner models emerged unannounced and started to dance on the tables, hoisted into the air on chairs and generally had a blast. Shalom Harlow wore the twin of this dress for that presentation and for an appearance afterwards.

The dress is in pristine condition. It is made out of a stretch crepe that is very comfortable too wear. The front panel is a deep navy blue and the rest of the dress is a of white that has an almost putty color feel to it. The cut is so clever and instantly gives you shape by how the darker portion of the has been curved to give the illusion of a very tiny waist.  The back scoops in at the sides for a touch of a racer back feel, a silhouette that Stella loves to use in her work. A nude mesh panel wraps fromt he side and zips into place under the back of the dress. This lets the sides seem to be completely open and also serves a practical function in that it holds the dress firmly in place so that you can move as much as you wish. It comes with its original belt that has a curved gold toned plate that wraps around and cinches in the waist. The back skirt falls longer then the front and the skirt it cut on a slight curve as well. You can see the influence of Geoffrey Beene in a lot of her works as well and this feels like a very modern and chic interpretation of his work. Excellent condition 

Fully lined in a blue silk through the front and a very silk through the back. The mesh wrap around zips to close and then the dress zippers to close over that with a hidden set zipper. The belt snaps into place and has three rows of snaps to adjust the length. The brand tag is gone but the interior tag is correct and the belt comes in its Stella McCartney drawstring dust bag. Tagged a size 40 and looked to have been worn very little if at all. The fabric has some stretch

Bust: 15-17" flat across from side seam to side seam
Waist: 12-14" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Length: 59" from top of shoulder to front hem, 68" to the longest point of the back hem

Modern Sizing Equivalent: XS-SML

Item# DD3550

Reference Photos: (1-3) Shalom Harlow for Stella McCartney F/W 2012 Evening Collection.  /  (4) Shalom Harlow, Kate Moss & Amber Valetta for Stella McCartney F/W 2012 Evening Collection presentation.  /  (5) Brooklyn Decker in Stella McCartney for the "Battleship" Japan Premiere, 2012.  /  (6) Edie Falco in Stella McCartney at the 2012 Primetime Emmy Awards.  /  (7) Gwyneth Paltrow in Stella McCartney at the 2012 Grammys.  /  (8) Alia Bhatt in Stella McCartney on the cover of Femina Magazine, January 2013.  /  (9) Tess Daly in Stella McCartney for the Strictly Come Dancing Premiere, 2012.  /  (10) Kira Miro in Stella McCartney for the GQ Men of the Year Awards, 2012.  /  (11) Model in Stella McCartney, credit unknown.

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

In 1996, the same year this gown was made, Hanae Mori was awarded the Order of Culture by the Emperor of Japan. This after a long and lustrous career that included becoming the first Japenese women to become a member of Le Chambre Syndicale de la Haute Couture Parisienne in 1977. In the Encyclopedia of Fashion they say of her work:

"....examples used bright hot colors, juxtaposed in one ensemble to provide interest, bringing a strong Japanese feel to their narrow hues, frequently harking back to the kimono for their silhouette and cut. It is in this area that her work is most inspired, bringing together European tailoring and Japanese color and ideals of beauty. She uses the Japanese love of asymmetry to further develop her style and the linear patterns she prints onto her distinctive silks. She exploits the natural appeal of such fabrics with a well-defined sense of cut to illuminate her realistic styles. By doing so, Mori is providing both an alternative to and a definite rejection of the type of elaborate couture confections that mold the female form into fantastical shapes, ignoring the woman beneath the fabric.......The designer is also a favorite of the Japanese royal family and Thailand's Queen Sirikit."

To find a true piece of her Haute Couture is exceedingly rare and when the design is as beautiful as this one is, it just makes it that much more special. This is couture on the highest level with everything about the piece deliberate and constructed to work as a whole. It is made of the finest silk and silk chiffon. The design is one of her signature custom prints that she helped to develop. Along the hem of the skirt there is also a hand painted detailing layered on top of the print. Bead work has been hand applied to the silk chiffon bodice to follow the black and white pattern on the underlying silk. The skirt wraps and secures over, draping around the hips and legs in a beautiful swath of silk. At one side of the waist she works in a touch of the East with the bow that you see. Underneath is a short mini skirt that is built in and has just the slightest touch of padding at the back. This gives shape around the hip and I feel it is also a subtle nod to the bustle pad. The top is semi-transparent and zips to close from the waist. It can be left open more to give a deeper plunge. I photos most of the shots with the zipper left a little open and included one with it fully closed. The shocking flash of brilliant turquoise under the skirt and lining the bow along with the high slit created by the wrapped effect are the perfect finishes. Great condition with a note to review below

The skirt is lined in a brilliant turquoise silk and the interior partial skirt is lined in black silk. The bodice and sleeves are unlined. The bodice closes with a front zipper. Her signature tiny fabric covered snaps sit at each cuff. There minor loss and loose beads on the top. Please see the photo after the label shots for the worst area. Completely made by hand as per the the standards of Haute Couture. Numbered tag underneath labeled "HC 1363 (perhaps the first number is a 7?) Pe 6-12-96"

Sleeves: 26"
Shoulders: 14"
Bust: 17.5" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 53" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD2363

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

John Anthony opened his label in 1971 and during the 1970s he became known for making pieces that were sleek & sexy but still felt sophisticated. His business was all done on a made to order basis. That means the majority of pieces you will find are a one-off, or if there are similar pieces, very few of each piece exist. This personal attention to each dress is clearly seen in the workmanship of his pieces. His work is a personal favourite of mine and this dress is extraordinary.

This dress is exceptional and a wonderful example of his work during this time period. It is made from a black silk jersey that allows it to drape beautifully on the body. The dress is cut to drapes and skim over the body and it does show every curve but without it being tight and fitted. Once on, this gives it a certain sexiness despite the fact that the dress completely covers you. The sleeves are long and widen out as the near the cuffs to create a poufed effect over each buttoned cuff. The dress skims over the body and fall to the floor in a beautiful drape of inky black silk jersey. A hand beaded silver bird seems to have been captured in mid-flight as it swoops around the scooped neck. A second bird arches down the hip and appears to hold in its beak the gathered panel of fabric that is set on that one hip. This panel give the dress a bit of a forties feel that I love. It also hides a high cut slit that reveals almost your entire your leg when you walk or sit. It is incredible and made to demi-couture standards. Excellent condition

Unlined and closes with a back, hand set zipper. Each cuff buttons to close. The birds are hand beaded onto the dress. Appears to have been worn very little if at all. Hand finished. The fabric does have stretch so it should fit a range of sizes. The measurements below give you the comfortable range the fabric has when lying flat.

Sleeves: 26"
Slightly inset shoulders: 13"
Bust: 15-19" flat across from side seam to side seam
Waist: 14-17" flat across from side seam to side seam
Hips: 17-20" flat across from side seam to side seam
Length: 58.5" from neck to hem
Slit: 32" from hem to top of slit

Modern Sizing Equivalent: XS-MED

Item# DD2973

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 fantastic and romantic gown by Alfred Bosand who was really one of the great American designers whose clothes where made to couture levels with lots of hand finishes and detailing to them. Bosand started his career after World War II by attending the Fashion Academy, New York City. He then worked with several designers before launching his own label. By the time he returned in 1986 he was one of New York's last privately owned couture designers with his own label. His work is of very high quality.

I love how the dress is beaded from the top of the straps to the hem. The base fabric is made from a beautiful black silk net that has a layer of silk chiffon backing it. Under this is a built in inner dress made out of a black silk satin backed crepe so that the dress is not transparent. The dress is suspended from the shoulder from two tiny straps. It is seamed just under the bust and the top edge has a bit of a scalloped effect by the lace net being allowed to peak up and over the seam there. The skirt cascades from the high set waist to the floor in a delicious sweep of fabric. As it nears the floor it widens out which gives the change of design there the perfect backdrop and space to really pop. The entire dress has been covered in beading, sequins and embroidery. The top part of the dress has little rows of gold tube beads that are each set on a slight curve and broken up with scatterings of gold sequins. These are all hand set and by laying them out in this more organic feel they are more visually interesting then to have just done straight vertical rows. The entire lower hem is covered in flowers. This takes up about 24" of the bottom of the dress and in person they have far more impact then on it looks in the photos and on the dress form. The colours used are a soft turquoise mixed with a deep pink and pops of gold. The design is made up of a combination of embroidery, tube and seed beads and gold metallic thread. I love that the bottom hem is scalloped all around the edge. It is very beautiful and even better in person. Excellent condition.

Fully lined in a black silk satin backed crepe and closes with a back set zipper. It looks to have been worn very little if at all 

Bust: to 19" flat across from side seam to side seam
Seam under bust: 17" flat across from side seam to side seam
Natural waist - hips: open
Bodice: 14" from top of bodice to seam under the bust 
Skirt: 45.5" from waist to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3549

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

I love finding Donald Brooks pieces, especially his main line label that he launched in 1964. He only designed for a very short time, closing his business in 1973. He had a secondary, boutique line that he started in 1971 that also closed in 1973. This dress is from his mainline and was most likely made during that 1971-1973 time frame. I did find a reference photo of the dress but it was dated as being 1978 which is not possible so we have the photo but not the exact date. 

Brooks pieces have a certain ease about them. This is partly due to his fabric choices and also in part because of his cutting and draping techniques. This dress is made from an easy to wear black jersey that has been finished with a scattering of rhinestones across its surface. I love this combination of the glittering crystals with the ease and simplicity of the fabric. The faceted glass crystals are hand placed on prong settings across the entire surface of the dress. It's an ingenious way to make for a very glamorous dress without taking away from the simplicity of the jersey. The stones are spaced out over the entire surface so that they catch the light from every angle. The dress is cut to skim over the bust, nip in with a seam at the waist and then the sleeves are left long and are cut to be full above the cuffs. A matching tie belt can be used to cinch the waist in for more shape. The neckline is cut wide for a touch of collar bone to show and both the back and front are scooped. The skirt falls to the floor and there are yards of fabric used in it so it has great movement once it is on. It is a striking dress and looks to have been worn very little if at all. Excellent condition.

Unlined and closes with a metal and nylon zipper at the back. A hidden set hook & eye at each cuff. Matching fabric tie at the waist. The fabric has some stretch overall but the waist measurement is fixed with the seam.

Sleeves: 25" approx.
Shoulders: no defined seam
Bust: 17-18.5" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: open
Bodice: 15" from natural neck to waist
Skirt: 42" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2926

Reference Photo: Donald Brooks Dress, date unknown

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

This very beautiful and perfectly cut Haute Couture dress by Andre Courreges. Courreges spent 11 years as a cutter for Balenciaga before launching his own label in 1961 and that high standard of tailoring shows in his garments. Courreges produced Haute Couture right from the start that appealed to the youthquake movement. The lines of this dress are classic for the work that he was doing in and around 1966. He was famous for his 'space age' tailoring and bold forward thinking lines that were far ahead of their time when introduced and still have a lasting impact on current day fashion. The Met Museum holds a similar cut dress from this same time period in their permanent collection.

The fabric on this dress is exactly what you look for in a Courreges piece from this era. The dress is made out of a good weight wool fabric that is structured enough to hold the intended shape he wanted it it have. The wool has a slight texture to it and is done in his favorite color. The seaming is superb and the dress reflects the clean geometric lines that he excelled at. The shoulders are cut high and slightly inset. There is a beautifully curved seam just above the breasts that is set to meet the vertical center seam that runs down the front. This is then repeated at the back. A small horizontal strap is set at the lower back and it buttons into place. The sleeves pouf slightly above the buttoned cuffs and are cut to just above the wrist. The proper Courreges couture label is present and it is entirely made by hand. This is a stunning example of his work during this time period. Excellent condition with a minor note below.

Fully lined in a hand set cream silk. It closes with a back painted metal zipper. The strap set at the low back buttons into place and has properly finished buttonholes. Each cuff buttons to close. I see two pinhead size storage marks on the inside of one sleeve and the slightest of marks on the front and back skirt that are only visible in certain lights

Sleeves: 21"
Slightly inset shoulders: 14"
Bust: 17" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 33" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD2727

Reference Photo: ca. 1966 Andre Courreges Dress at The Met Collection.

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

In 2015 Curator and Fashion Historian, Laura McLaws Helms contacted me about the upcoming exhibit at the Fashion and Textile Museum in London on Thea Porter's work that she had planned. She ended up borrowing a dozen Thea Porter pieces from me for use in the exhibit and for the accompanying book 'Thea Porter: Bohemian Chic'. A close up of the fabric from this dress appears on p.84 of the book to illustrate the collaborative efforts between Thea Porter and textile designer, Hannah Meckler. The pattern on this dress is the 'Wave' design and in the book this is clarified as being done by hand and "painted onto meters of silk chiffon that were made into evening dresses and Abayas". This dress has the added provenance of being the same print and fabric of a Thea Porter owned and worn by style icon, Kate Moss

This is a wonderful Thea Porter dress that has a bare back and halter neckline. This more fitted shape is a bit unusual for her but that is part of what I love about it. It shows the range that Thea had while still staying within her wheelhouse of that bohemian feel. Thea's pieces often created sensuality by combining full coverage and flowing fabrics, so to see a dress that has far more 'bareness' to it is a bit of an anomaly for her and really showcases how multi-faceted she was. The hand painted Hannah Meckler wave design that covers the silk is appropriately named for its beautiful blue tones that are reminiscent of the ocean. The pattern has been set to highlight the lines of the dress which would have required much pre-planning and a disregard for the extra fabric needed to achieve this. The skirt is made from many yards of the silk and is set on a bias cut so that the movement it has is incredible. The fabric choice gives the dress an airy, floating feel. The bodice is fitted and cut with a high halter neckline that curves up and around the neck to tie at the back. There is a second layer of silk there that ties over the inner strap and trails down the back. The back is left completely open with a wide expanse of bare skin showing. Curved pleats, done by hand, angle up to the silk chiffon rosette details the neckline. It is very beautiful. A wonderful example of Thea Porter's work and her collaborative efforts with textile designers of the time period. Excellent condition with minor notes to review below

Fully lined in pale blue tissue silk. It closes with a low, hand set, back painted metal zipper. The halter closes at the back with hook and there is a panel of silk chiffon that ties into place over that. Light boning on either side of the bodice. All hand work. There is a slight discoloration to the lining near the top edge, the waist and inner skirt. Tagged a vintage UK 10. Note that it was too small for my mannequin and it does of course zipper and close properly.

Bust: approx 16" flat across from side seam to side seam but there is some play here as the back is open
Waist: 12.5" flat across from side seam to side seam
Hips: open
Bodice: approx 13" from neck to slight empire waist
Skirt: 45" from slight empire waist to hem

Modern Sizing equivalent: XS-SML

Item# DD1108

Photo Credit: (1) From the Book Thea Porter; Bohemian Chic, p.84.  /  (2) Kate Moss in a dress with the same print

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

My client had this dress made for her by Oscar in the early 1990s. It is absolutely divine even if it is no longer 100% perfect. It is made from a deep teal blue green silk chiffon and in person is a touch deeper in tone and even richer in feel. The dress has a decidedly Grecian goddess feel to it. The silk is a very fine, scarf weight silk that is very difficult to work with especially given the elaborate draping that has been done on this dress. It would have taken many hours  and a high degree of technical skill to drape that silk so perfectly into place. The dress is cut to flow beautifully around the body. The bodice is fitted with an elaborately draped and gathered front. The silk wraps around the waist and then angles up over each breast. A long panel of silk is attached so that it drapes dramatically over one shoulder and the cascades down towards the floor in an almost train like fashion. The skirt is made up of layers of silk that wrap and curve over each other. These layers are all cut on the bias so the dress really has the most spectacular movement when you move. It is simple and classic but has a high impact feel at the same time. Presents as excellent condition but does have some small flaws to note below

The bodice is lined in silk and three full layers of silk chiffon were used in the construction of the skirt. It closes with a back set zipper. Has a inner lightly boned silk bodice ad inner waist stay that hooks to close. Hand finishes. The dress has some flaws. There is a tiny nick on the back of the skirt, and minor fraying/thinning along and near the zipper. A couple of areas where the fabric has thinned or caught at some point on the shoulder panel and scuffing and the same thinning in a couple tiny spots near the hem. The zipper may have been moved at some point and there is minor shattering around the top edge near the arms. Each side of the bodice was taken in at some point. Please see the photo including the label and onward for all these points. It is perfectly sound otherwise

Bust: 17" flat across from side seam to side seam
Inner waist: 12" flat across from side seam to side seam
Hips: open
Bodice: 9" from top of bodice edge to waist
Skirt: 46" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3547

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

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

My client recalls having this made for her in 1998 which dates it to his final year. This set did not appear on any runway that season since it was a custom created piece just for her. One of the keystones of Mizrahi's work was that he used surprising fabrics in unexpected ways and that is displayed in this set. The top is made out of a double layer of stretch jersey that is the same nude jersey that you would normally see in lingerie. That doesn't feel all that avant garde for our modern world, but in 1998, to use lingerie fabric for outerwear would have been startling. The top is easy to wear and has the simple lines that he preferred. It is sleeveless with a slight ruffled effect around each arm. It zips up the back with a large exposed silver zipper and the edges are left raw cut. Over this is a floor length silk taffeta skirt. It has a lovely long line with pockets on each hip. At the waist it is detailed with a nude silk netting that is set around the waist in a three dimensional pin-tuck triangle design.  The one-off, rare set is gorgeous on an actual body and in person the textures of the fabrics really play off of each other. It appears to have never been worn or worn very little. Excellent condition

The top is a double layer of the nude jersey and the skirt is lined in a black silk organza. The top closes with the back exposed zipper that you see and the skirt closes with w zipper and hook & eye at the waist band. The top is tagged a S and the skirt a 4. Both pieces appear to have never been worn or worn very little. The top does have some stretch. The nude is a slightly different shade then how it photoed. Think the color of standard lingerie stretch nude fabric

Top
Bust: 14-17" flat across from side seam to side seam
Waist: 14-15" flat across from side seam to side seam
Hips: 17-19" flat across from side seam to side seam
Length: 22"

Skirt
Waist: 13" flat across from side seam to side seam
Hips: open
Length: 48" from waist to hem with 2" turned under the hem. The ruffle extends an additional 1" up from the top seam at the waist

Modern Sizing Equivalent: SML-MED

Item# DD3546

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

I have only ever seen one other of these. His pieces were only ever made in very limited quantities. The tag is numbered and states that it is #8/BO and I suspect the number detonates the production model number. I can confidently date it to just after 1987 as it has a Fred Hayman Beverly Hills tag which came into being that year. Some of the most beautiful women in the world wore his clothing including Marisa Berenson, Raquel Welch, Jane Birkin, Dalida, Sophia Loren, Brigitte Bardot and Tina Turner. It was a label that defined sexiness and had a certain French flare that women world-wide loved. Loris launched his label in 1967 and quickly defined his trademark looks with color, ornate beading, sequins, daring cut-outs and avant garde ways of defining the body.

The dress is pristine and even the labels inside are still crisp and brand new looking so I don't think it was ever worn. The dress is a figure hugging sheath that is covered in hand applied copper sequins that easily number into the thousands. Once on, these catch the light fantastically and shimmer with every move. The dress is cut to cover you from head to toe. The sleeves are long and it is cut to follow the curves of the body. At the back, the skirt extends out past the floor for a little drama. Both the back and the front are cut wide across so you see a glimpse of your collar bones and then it plunges into deep V's. I love how the sequins form a little peak at the front center bust to add a little extra detailing there. The shoulders are spectacular. An iridescent copper silk taffeta has been pleated and then this is fanned out and around each shoulder to dramatically frame the shoulders and face. He has used three stacked layers to achieve this look and I took photos from the side so that you can see how they are set to wrap around and under each arm. It is absolutely magnificent. Excellent condition

Fully lined in a copper silk and closes with a back painted metal & nylon zipper. Each sleeve has its own individual zipper at the cuff. Tagged a FR38. The fabric has a little stretch as it is bias cut. It appears to have been worn very little if at all.

Sleeves: 23.5"
Shoulders: variable
Bust: to 18" flat across from side seam to side seam
Waist: 13-14" flat across from side seam to side seam
Hips: to 19.5" flat across from side seam to side seam
Length: 60" from shoulder to front hem, 63" to back hem

Modern Sizing Equivalent: SML-MED

Item# DD2874

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 exquisite 1920s dress is made from a mix of real metallic gold thread woven through a deep burgundy silk. It is so hard to find pieces at this level from this period anymore and this one is extraordinary.

To find a dress from this period in this mix of a deep burgundy and gold like this is very unusual. In person the gold is the more predominant color and these early lame fabrics have a textile feel to then that you can no longer find in modern garments because of the way the fabric was made. There is a secondary floral pattern through the silk and this runs over the dress from shoulder to hem. The cut is kept simple and reflects the time period perfectly. Wide straps extend out from the halter cut of the bodice and curve over the shoulders and down the low cut back. The front dips into a deep plunge, crossing over itself slightly where it meets the band at the waist. At the back it dips equally as low but here the plunge is rounded at the base. From just under the bust the the top of the hips the fabric is gathered and wrapped around to follow the curve of the body. The gathers meet down the center on both the front and back sides in an elaborate panel. Below this the skirt falls to the floor in a series of soft pleats from just under the banding around the hips. The middle front seam of the skirt is left partially open so that you get an extra peak of leg when you move. The dress is entirely cut on the bias and drapes beautifully once on the body, moving around you like liquid. It is a remarkable example of the work being done during this time period. The color is still vivid and the fabric is strong & wearable. Excellent condition with notes to review below

Unlined and slips on to wear with a row of metal hook and eye down the side to close it. Hand finishes throughout. There may be the occasional darkening to the lame here and there but nothing outstanding. This is a natural occurrence to this type of fabric. I do not consider this to be a flaw and any tiny areas only add to the patina of this outstanding gown. For a piece that is almost 100 years old is it to be considered in outstanding, museum quality condition.

There is a small area of thinning of the fabric in the skirt that is just off from the side the front middle seam. It appears stable and I chose to leave it as it gets lost in the folds once the dress is on. There is an older repair to the hem of the skirt - I have photoed both the front and back where it was reinforced (the 2nd and 3rd last photo). Please review the last three photos. The fabric does have some stretch since it is all cut on the bias - the under bust measurement is fixed with no give - if you fit that then the size may otherwise fit a range of sizes.

Seam Under bust: 13.5" flat across from side seam to side seam with no give
Waist: to 14" flat across from side seam to side seam
Seam just above hips: to 17" flat across from side seam to side seam
Hips under the lowest seam: open
Bodice: 13" from top of shoulder to seam under the bust, approx 23" from shoulder to lowest seam just above the hips
Length: 60" from shoulder to hem

Modern Sizing Equivalent: XS-MED

Item# E655

Note that antique and twenties pieces are final sale. They will be packed exceedingly well and we only sell pieces that will stand up to the stress of shipping, however, having pieces potentially shipped multiple times through multiple customs and countries is too hard on garments that are historically important and deserve to be treated with love and care. Please purchase accordingly.

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

This Yves Saint Laurent dress is remarkable. The designs for pieces like this often built on previous Haute Couture collections and you can see the influence and progression from the famous Russian collection in its lines. As time progressed, Yves exaggerated those lines used for the 1977 collection and by 1982 the sleeves were far more dramatic. Similar dresses from that year were photoed for various editorials and I have included two of those shots here for reference.

The dress is made from a combination of two of his signatures fabrics, a silk taffeta and a silk velvet. The sleeves are very dramatic. Each  is cut to be very wide and full with a huge pouf starting at the shoulder to the elbow. Below that the black velvet tapers gracefully to the wrist where it buttons along the cuff with four glossy dome buttons and loops. The top is cut easy through the body, is seamed at the waist and then the velvet extends down over the top of the hips. It has an attached silk sash to cinch the waist in and add shape. The skirt is extremely full and falls to the floor in a gently widening curve under the velvet banding at the hips. The photos do not really do the amount of fabric in the skirt full justice. I also absolutely love that the inner layer of the skirt is a contrasting muted red silk. You don't really see that inner layer when you are standing, but when you sit or move just right, you get that extra flash of color. It's a small detail that I absolutely love. The choice of the silk taffeta as the primary fabric allows the dress to still be fairly light in weight despite the layers. It also helps to retain its shape and fullness.  It is wonderful. Pieces by Yves from this time period have become an important piece of fashion history. Excellent condition.

Fully lined through the bodice in a black silk satin. The skirt is lined in a deep red silk taffeta and the sleeves are unlined. It closes at the side with a metal and nylon zipper and each cuff buttons to close. The sash is attached at the back. Slight sheen to the velvet along the seam at the back. Tagged a vintage YSL 40.

Sleeves: 29"
Shoulders: 15"
Bust: 17.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 17" from shoulder to waist
Skirt: 43.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD2856

Reference Photo: (1) F/W 1982 Saint Laurent Rive Gauche.  /  (2) Model in Yves Saint Laurent, credit unknown.

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

The Rive gauche label was often derived from the couture pieces of the previous season and with this dress exemplifies that progression. A dress with a similar hemline treatment was shown in the 1979 Haute Couture collection. That couture look was then translated into silk taffeta gowns for the Rive Gauche spring collection of 1980. The twin of this dress was photoed in March 1980 backstage at YSL.  This is actually the second dress like this that one I have had in the shop and I am very pleased to have found another. This one is not perfect but its flaws are in a spot that still makes it very wearable and its a very good price as a result. 

The dress combines two of his signature fabrics, silk taffeta and velvet. He used these fabrics extensively during these years as they gave him the structure and volume he needed to pull off his designs while keeping the dresses to a reasonable weight. On this one, the silk he chose is a deep, rich magenta. The silk has an iridescent quality to it that catches the light and gives the silk different hues and tones. This is combined with a inky black velvet that he uses for the bodice. The top portion of the dress is cut to be more fitted and it has a ruffled collar in the same silk as the skirt. At the end of each sleeve is a ruffled finish that is also done in the silk. A wide, attached silk sash wraps and ties around the waist to cinch it in and add shape. The velvet extends down to the top of the hips and then the skirt falls from there. It is set high up on one side and then curves down and around the back. On the side that it is set high up on the hip the hem is cut to also follow that line making it shorter at the front and then falling long at the back. It is exceptionally full and the fabric choice keeps it light in feel while still giving it volume. I love the wide ruffle that circles the hem giving it an extra flounce and added movement. There is an incredible amount of fabric in the skirt. It is truly remarkable. Excellent overall condition with a note to review below 

Fully lined through the bodice and unlined through the skirt and sleeves. It closes with a side painted metal and nylon zipper. There are areas of thinning on the back ruffle of the hem. The volume of fabric makes these pretty much lost on the folds. Please see the photos after the label shot.  Tagged a vintage YSL 38

Sleeves: 25.5"
Slightly inset shoulders: 13.5"
Bust: 16.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Length: 51" from shoulder to shortest spot on the front hem, 61" to the longest part of the back hem

Modern Sizing Equivalent: XS-SML

Item# DD2854

Reference Photos: (1) 1979 Haute Couture Yves Saint Laurent  /  (2) Sayoko, wearing Yves Saint Laurent, in Paris, March 1980. Photo by Roxanne Lowit. 

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

This dress that has a lot of impact and its feathered cuffs give it a shot of high glamour. It is made out of a black stretch jersey that has just a bit of give to it for maximum comfort when it is on. Each sleeve has a wide cuff made out of glossy black feathers. This simple addition to the cuffs is what  really ups the dramatic feel of the dress. The waist is defined by a high band inset of the same fabric. The front plunges to this band in a deep V. At the back there are two ties, one is set at the low back and the other ties just behind the neck. In between is a curved, round cut out that leaves the back completely bare. The sleeves are long and lean sand then end with that fabulous burst of feathers. The skirt falls to the floor from under the band at the bust, skims over the hips and then flares out as it nears the hem. Love the play of the bare skin of the bodice with the high drama of the feathers. Excellent condition

Unlined and closes at the low back with a metal & nylon zipper and snaps at each cuff.

Sleeves: 25"
Shoulders: 14"
Bust: 16-18" flat across from side seam to side seam, 13.5"-15" at the under-bust seam
Waist at second seam under the bust: 13-14" flat across from side seam to side seam
Hips: 17-19" flat across from side seam to side seam
Bodice: 110" from shoulder to first seam under the bust, 12" to the second
Skirt: 44" from second seam under the bust to hem

Modern Sizing Equivalent: XS-SML

Item# E668

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

The lines of this dress are pure Yves Saint Laurent for this time period. It is just extraordinary. For the skirt of the dress he has used a silver grey silk taffeta. This fabric choice gives it the volume that you see and helps to support the edging that circles the entire hem. For that he chose a black, sequin detailed lace. This same sequin and lace fabric was then used for the bodice. The dress is suspended from the shoulders by two thin silk ribbons. I love this detail because it gives you the option to tuck those in and wear this as a strapless piece if you wanted. The bodice is fitted and covered in a black silk lace netting over a silk organza. Black sequins have then been applied by hand to highlight the curving design underneath. This same fabric as been used all around the hem where it has been used in a single layer with no lining backing it. This gives you a touch of transparency that is very sexy. Some parts of the skirt are actually cut quite high up the leg when you just look at where the grey silk part falls to and this transparency gives you a flash of skin behind the lace. The skirt is very full so that when you move you get a lot of volume and movement. A long silver silk sash wraps and ties to cinch in the waist. It also comes with its original matching wrap. This is very large and finished with a wide ruffle all the way around. This is a dress that is even better on an actual body and moves and feel fabulous once on. Excellent condition with a couple of minor notes below

Fully lined through the bodice with a black silk and the grey part of the skirt has a black silk chiffon inner skirt. It closes at the side with a metal and nylon zipper. Tagged a vintage YSL 42. There is a faint mark on the side of the skirt near the seam and bottom of the grey part of the skirt that you only would see if you lay it out flat as I have. The straps show a bit wear and fraying at their very tops. Please review the first two photos after the label shot. The matching wrap has a small blue mark near a seam and there are some watermarks/scuffs to the fabric. These are shown in the last two shots. All of these are minor.

Bust: to 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 17" from top of shoulder to waist
Skirt: approx 42" from waist to longest points and approx 25" to shortest
Shawl: 57" x 46"

Modern Sizing Equivalent: SML-MED

Item# DD3342

Reference Photo: Model in Yves Saint Laurent F/W 1981-82 Rive Gauche Collection. Photo by Helmut Newton. From the book "Yves Saint Laurent: Icons of Fashion Design" by Schirmer/Mosel.

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

Dorian was a lingerie company so this was probably originally intended to be used as a hostess piece or as a robe worn over over an inner piece. For a modern girl it makes for an amazing wrap dress and you could also wear it layered over something else. The dress, or coat, depending on how you decide to wear it, is made out a black stretch jersey whose neckline is edged in a wide and dramatic panel of glossy black feathers. It is very reminiscent of pieces that you would have seen being produced for the Old Hollywood era of the twenties and thirties. It draws heavily on that silhouette but without feeling like a copy with the use of the modern jersey for the fabric choice. The sleeves are cut long and wide and they each flare dramatically with each is a full 27" around by the time they reach the ends. The body of the dress wraps and ties to close. This makes it so easy to wear and comfortable too. The feather panel is wide and curves around the neck and down the front to the waist. It is cut so very simply but yet is so very dramatic once on an actual body. Excellent condition.

Unlined and wraps and ties to close. It appears to have been worn very little if at all. The jersey does have some stretch and the tie makes it very adjustable for sizing. The easy cut should allow it to fit a range of sizes

Sleeves: 22"
Shoulders: 15.5"
Bust: to 18" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam but adjustable with the ties up or down several inches
Hips: open
Bodice: 13" from neck to waist
Skirt: 42" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3542

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

I love this dress so much with its incredible volume and amazing use of fabric and color. It has no label but is well made. The color combination on it is so unusual. These are colors you might not see out together as often but the soft baby pink and that grass green work fantastically together. The dress is actually cut with a fairly simple line. The neckline is cut into a V at both the back and the front. It is suspended from two thin straps that curve over the shoulders and are made of the same satin ribbon fabric that edges the top edge of the neckline. From there the dress cascades to the floor in a loose and voluminous cut that is very easy to wear. It simple flows out in an ever widening silhouette to the ground. There are yards and yard of chiffon that make up the body and lower portion of the dress. The very inner layer is a pink stretch jersey and this is topped by the soft pink chiffon layer. Over this is that green layer and the green layer is cut so that it is split on each side and down the center of the front and back. This lets the pink show from underneath at the slightest movement. The bottom hem of both chiffon layers are finished with a wire that lets the hem curve and twist. This adds extra volume to the layers and creates a fantastically romantic and dramatic effect as the layers float over the inner lining. Amazing. Excellent condition with one small note below

Fully lined in pink stretch jersey and closes with a back painted metal zipper. Hand finishes. The inner layer of jersey has stretch so the dress has some flexibility. There are two area on the green that has light spots. With the amount of fabric in the dress they get lost in the folds when on. See the last two photos after the label shot

Bust: 15-17.5" flat across from side seam to side seam
Waist: open
Hips: open
Length: 59" from shoulder strap to hem

Modern Sizing Equivalent: XS-MED

Item# E686

Reference Photo: Cherie, Owner of Shrimpton Couture.

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

James Galanos typifies that true American glamour. His work combines a chic sophistication with bold design and fabric choices. He was particularly known for his amazing evening wear. His work was executed to the highest standards and the workmanship is on par with couture. He is often called one of the great American couturiers and that title is well deserved in terms of construction and quality found in his pieces. He was a master at working with silk chiffon and his technique of layering the skirts with multiple panels of silk is a signature.

I love this dress. The color combination is very unusual and the silk chosen for the layers that make it up are of the highest quality. The dress is made out of several layers of silk chiffon. The inner pink dress is made out of four full layers that are stacked perfectly on top of each other. For the skirt each layer is attached at the side seam and waist which leaves the hem free and gives the dress movement when you move. The top portion is also made out of layers of the silk and here is it finished with inner elastic through the waist and all around the upper seam of the neckline. This makes the dress very easy to wear and comfortable. It simply slips on and falls perfectly in place over the body. Over the skirt is a panel of green that is set on both the front and the back of the skirt. This is attached around the waist with the side left open down the length of each side so that the pink of the skirt underneath shows. It has its original matching fabric tie belt that you can use to cinch the waist for added shape or use around the neck or even as a head wrap. The choice of these unexpected colors work surprisingly well with each other and it is made to the Galanos couture equivalent standards. The dress form does not do the dress justice as to how it works on an actual body. Excellent condition with one small note below.

The various layers of silk also act as the lining for the dress. It closes with a hand set, painted metal side zipper above the waist and then has elastic through the waist and around the upper edge of the bodice. Hidden pockets along the seams of each hip. Hand rolled edges and hand finishes throughout. It does have tiny straps that you could wear over the shoulders but I feel they are more to hang the dress so presented it as strapless. There is the faintest watermark in the silk at the waist. Please see the last photo

Bust: to 18" flat across from side seam to side seam
Waist: 12-15" flat across from side seam to side seam
Hips: to 19.5" flat across from side seam to side seam
Bodice: 16"
Skirt: 41" from waist to hem

Modern Sizing equivalent: XS-MED

Item# DD1199

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

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

This dress is spectacular. It is one of the best Nina Ricci pieces I have seen. This is true Haute Couture label from the atelier and every stitch has been done by hand. The hours that would have been put into making this dress and ensuring that drape and line are perfect are mind-boggling. The dress is made out of a fine silk that has been dyed to the perfect clear red. In person it is perhaps a touch brighter and better then how it photoed. The silk that has been chosen for the fabric gives it that fantastic drape you see. The fabric is so light that the dress seems to  float around you when you move. The neckline is slightly scooped and the silk is gathered up on one shoulder. It skims over the waist and is gather into a low drape over the skirt. On the side opposite to the draped shoulder there is another gathering of the silk. The creates a lovely long line through the body. The skirt flows to the floor from under that. It is cut on an angle at the hem and one corner of the back skirt is left longer so that it trails down and past the lower hem to create a slight trained feel. There is a slit up the leg and above that, a tightly spaced row of buttons that run up the side and disappear under the drape of the bodice. The sleeves are amazing. They are each cut to drop to the floor and flow around you every time you move. Here Pipart has again played on the asymmetrical feel he has created for the dress and he has cut one sleeve to be longer then the other, with the longer one set on the same side that the skirt is longer. The final touch is that fabulous pleated double flower at the neckline that gives it the perfect finish. This little extra detail creates that last bit of high drama to the design. Excellent condition with some small notes to review below.

The body of the dress is fully lined in red silk crepe and the skirt and sleeve are unlined. It closes with a side, hand set, zipper and a second one at the top of the shoulder where the flowers are. Light padding in the shoulders. Finished to Haute Couture standards and entirely made by hand. Note that there is some grubbiness on the trailing parts of the silk panels and some very tiny areas of thinning/picking of the fabric on the lower trailing panel of the skirt especially. Some small areas of darkening on the sleeves. Once on these do not detract at all and the fabric and dress is strong and stable. This is more from not being stored properly prior to my acquiring of it. I have included photos after the label shot to review. It is cut on the boas so there is a little play on the measurements. Haute Couture label present and made to couture standards.

Sleeves: the left is approx 62", the right is 52"
Shoulders: 15.5"
Bust: to 16-17.5" flat across from side seam to side seam
Waist: 12-14.5" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: approx 60" from neck to front hem and the trailing panel extends another 15" longer

Modern Sizing Equivalent: SML-MED

Item# DD3386

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

This dress is a little mystery as to its origins but is made to a very high quality so I would not be surprised to find out one day that it was a designer piece whose label has been lost. It is made of a black silk that has a touch of stiffening to it that really allows it to retain the fullness and shape that you see. It came with a separate stiffened silk organza underskirt and the outer skirt still sits well over this on it s on and the fabric itself is responsible for the fullness you see. There are many couture level details, like the knife pleats set on a curve around the side of the waist. It has been done beautifully and this helps to shape the dress as well as adding detailing.  The bodice is fitted with a shaped bust and pretty curved sweetheart neckline. The sleeves are a masterpiece and truly give the dress its couture feel. Each is poufed high and formed on a curve with pleats caught up at the seam and then expanding up and outwards to form that circular feel. Overall excellent condition with notes to review below

Fully lined through the bodice with a cream colored silk and closes with a back, hand set painted metal zipper. It has an attached silk tie at the waist and its original cream silk organza crinoline. The inner lining is starting to shatter in places. There is a small repair on the back of one arm and there two tiny holes in the skirt that gets lost in the folds. Please see the last two photos after the inner crinoline shot. The crinoline closes with hook & eye at the waist and is in fair condition. It is wearable but has some fraying at the raw edges everywhere and the waist has been taken in a not at some point. It would be easy to let out again.

Shoulders: no defined seams
Bust: 17" flat across from side seam to side seam with generous cups that would probably fit to a C
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 16' from shoulder to waist
Skirt: 28" from waist to hem with 5.5" turned under

Crinoline
Waist: 13.5" flat across from side seam to side seam
Hips: open
Length: 28"

Modern Sizing Equivalent: SML-MED

Item# D389

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

This dress is gorgeous. It is made out of a black silk that is heavy enough to really hold the shape and lines that you see and has a rich luxe feel to it. The skirt is wonderful and is cut to be very full. It falls to about the mid calf which was the length of this era. I have styled it over a crinoline so that you can see just how full it is and being a true circle skirt, it could go fuller still. I have also included a photo of the dress with no underskirt so that you can see how it falls without an extra crinoline added (photo 8). The waist nips in and it has a wide band that emphasizes the waist even more. The bodice on this one is amazing. The black silk has been formed into two cups that float over the inner bodice giving it a petal feel. Under that is a textured cream fabric that is hand adorned with a spray of rhinestone centered daisy appliques. The straps that you see can be worn as shown or you can tuck them in to make it a strapless dress. It does have an attached underskirt made of a stiffened muslin in the same ivory color as the appliqued bust area so when you move or sit you see a flash of that. It is very well made and a very pretty dress.  Excellent condition.

Fully lined in the same black silk as the exterior with a built in layer of stiffened cream muslin in the skirt acting as a light crinoline. It was photoed with a second crinoline that is not included. It closes with a side painted metal zipper. Hand finishes. Boning through the bodice and you could tuck the straps in and wear it strapless. Each flower is hand-applied and set with a rhinestone at its center.

Bust: 16.5" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: open
Bodice: approx 16" from top of straps to bottom waist seam, 10" without the straps
Skirt: 30" from waist seam to hem

Modern Sizing equivalent: XS-SML

Item# D434

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

This dress and coat set is extraordinary. After much research I have dated it to the mid-fifties while Christian Dior still presided over the house. You can see a striking similarity to the color and print in the examples shown here from the Haute Couture collections between 1954 and 1956. The label is the Modele Original label that was done one a custom order / custom made basis. The designs were based on the Haute Couture presentation from that season and then special ordered through the London store by clients. The work was considered to be demi-couture. It is not unusual to see variations and small changes from the runway line in these while still retaining the same color and line references found in the Couture examples.

Both the coat and dress are numbered and entirely hand finished and extremely well made. The silk used is very fine with a soft washed floral print screen onto the entire surface of both pieces. The dress is backed in a feather light silk organza while the coat is a double layer of the silk with the organza lining only found in the sleeves. Both pieces are so light that each of the two pieces have hand placed weighted hems in their interiors so that they fall and stay perfectly in place. The seaming is wonderful with the shape deliberately created through the placement of the seams. The inner dress has a voluminous cut that is wider and has more volume through the upper body and then narrows in towards the hips and hem. There is a small notched neckline anchored by a flat bow at the front and the back has a low slung flat bow and strap detailing set at the base of the small of the back. It is cut to be loose and full through the body and has an almost cocoon shape to it. The coat is cut with even more volume. These exaggerated lines and shapes perfectly showcase the feel of that era and would have been cutting edge then and still feel avant garde now. The evening coat is collarless and cut to sit almost off of the shoulders. On an actual body it has an almost slouched feel and the back puffs out tremendously in a beautiful curving swoop. The seams are all cut gracefully on a curve and the sleeves are to the elbow and wide. It is wonderful. Excellent condition with minor notes to review below

Both pieces are lined in hand set silk, the dress in an organza and the coat in the same silk as the exterior and silk organza through the sleeves. The dress closes at the back with a series of hook & eye and snaps at the back and a low set zipper under that. The coat has no closures. Hand placed weights in both pieces. Slight stress points at the corner of the lining under each arm. Please review the photos after the label shot. The dress is numbered 19013 and the coat 19012.

These were made to be worn over-sized. The hips on the dress do narrow down and there is no give there. The generous proportions should allow it to fit a range of sizes.

Jacket
Sleeves: 12.5"
Shoulders: 23"
Bust: 25.5" flat across from side seam to side seam
Waist: 25.5" flat across from side seam to side seam
Hips: 25.5" flat across from side seam to side seam
Length: 40.5" from neck to hem

Dress
Bust: 22.5" flat across from side seam to side seam
Waist: 19.5" flat across from side seam to side seam
Hips: 20.5" flat across from side seam to side seam
Length: 41.5" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# DD2674

Reference Photos: (1) Dovima in Dior, 1956. Photo by Henry Clarke.  /  (2) Dior Afternoon ensemble, 1954 from the Chicago History Museum Collection.  /  (3-5) Cherie, Owner of Shrimpton Couture.

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

Ted Lapidus began selling his designs in the 1950s in Paris. By 1963 his work garnered him a spot as a member of the Chambre Syndicale de la Haute Couture and he added Haute Couture to his ready to wear lines. This dress is from his more expensive ready to wear line and is beautifully made. 

This is a wonderful example of how romantic his work could be. It has a soft and flowing feel to it yet it is fitted through the waist and still gives you shape. It is made of a silk chiffon with a ribbon effect that is fused directly into the silk. This gives the fabric the texture that you see and really plays on the different transparencies of the dress. Where the dress is unlined through the upper bodice and sleeves you really see the square pattern it creates and how you get a glimpse of the skin under the silk. All thin strip of gold thread runs vertically through the silk along the edges of the ribbon that catche the light and give it a touch of glamour. The bodice has in inner more fitted silk  halter suspended by tiny straps and over that the outer layer is set to blouse over with a scooped neck and long sleeves. The waist nips in and the the skirt flows out from there to the floor. Yards of bias cut silk are used on the silk and it is very full when you move. A stunning floral print runs over the bodice and down the front and the back off the skirt and the colors of it absolutely pop off of the black. The dress is very well made and even better in person and on an actual body where the fabric can really move and flow as it was meant to. Excellent condition

Fully lined in a black silky rayon and closes with a painted metal and nylon zipper on the interior and then the exterior buttons to close over that. Each sleeve buttons to close. This is the main label line not the boutique label

Sleeves: 23"
Shoulders: 14"
Inner bust: 16.5" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Inner lining hips: 18" flat across from side seam to side seam
Bodice: 16" from top of bodice to waist but meant to drape a touch
Skirt: 42" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2884

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

This dress is incredible. I have seen one or two of these over the years and feel like at one point I saw it with its original designer label way back, but I did not save the information. This one has no label but it is clearly a well made piece. Plus it is just amazing regardless of its provenance and is definitely a dress that stands on its own merit.

The base fabric is a black felted wool and this gives it a soft, artisanal feel. This has then been printed in a bright rainbow of colors that run down the dress in rows of various states of circles, from full ones to just a sliver of a curve. Each of these are then detailed with pink, blue or green sequins that are set in little clusters at the center of each little dollop of color. Around the waist is an elaborately sequin and beaded 'belt' that is not separate from the dress but rather is a part of the dress and has been detailed onto the fabric. The neckline curves up from the shoulder and the sleeves are long. Each sleeve is detailed with a row of 6 hand beaded circular pattern buttons that run down the cuffs. This same pink beaded button detailing is used at the top of the front vent to keep it closed. The waist is defined by the detailing that you see but is actually cut fairly easy with just a suggestion of shape. The skirt falls from below that elaborate sequin belt and gently widens out a touch as it nears the floor. It is incredible and a personal favorite. Excellent condition

Fully lined in a black silk and closes with a back set painted metal zipper. The zipper sticks a teeny bit at times. All of the buttons are decorative only.

Sleeves: 21"
Shoulders: 15"
Bust: to 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 19.5" flat across from side seam to side seam
Bodice: 15.5" from top of bodice to waist
Skirt: 40" from waist to hem and including the two inch detailing around the waist. 2.5" turned up under the hem

Modern Sizing Equivalent: SML-MED

Item# E684

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

Pauline Trigere launched her label in 1942. She had moved to the US from Paris in 1937 and her designs always have that bit of a French feel to them. By 1949 she had been awarded a Coty and won one again in both 1951 and 1959. The 1959 win coincided with being inducted into the Coty Fashion Hall of Fame. She as a pioneer in the use of cottons and wool for evening, In 1961 she made headlines for being the first major fashion house to use amply an African American model.

This dress is incredible and I love the lines of it. It is made out of fine black wool that has a hand painted design that is worked over the fabric in a variety of metallic paint. There is a gold, a blue and a red. The designs are clusters of little circles bunched in the various circles. Over each burst of color are hand placed and sewn sequins in the matching metallic color. Each sequin is then secured by a matching colored round bead. The fabric is just incredible and the overall effect this creates reminds me of perhaps fireworks. The cut of the dress is equally fabulous. The front plunges in a V and the bodice is more fitted with a curving seam just under the bust. The fabric skims over the wait and then flares out into a very full skirt that falls to about ankle length depending on your height. There is a lot of fabric in the skirt and when you move the movement of it is wonderful. The sleeves are gathered around each shoulder so they have volume and then they narrow down as they reach the wrist. It is even better on an actual body and one of the best Trigere pieces I have seen. It looks like it has been worn very little if at all. Excellent condition

Fully lined in a fine black silk and closes at the back with a metal and nylon zipper. It looks like it has been worn very little if at all. Hand finishes

Sleeves: 21.5"
Shoulders: 16"
Bust: 17.5" flat across from side seam to side seam
Seam under bust: 16" flat across from side seam to side seam
Natural waist: to 16" flat across from side seam to side seam
Hips: open
Bodice: 12" from shoulder to seam under the bust
Skirt: 41.5" from seam under the bust to hem with 2.5" turned under

Modern Sizing Equivalent: SML-MED

Item# DD3535

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

This is an incredibly extravagant set by Bob Mackie for a collaboration he did with the Blanche lingerie brand during the late seventies - early eighties time period. It still has all of its original tags attached and is in perfect condition. Rarely do I bring in lingerie pieces but this one was so fabulous that I could not resist it. The inner gown is made of a slinky gold lurex fabric that has little gold dots printed over the fabric. The neckline is dipped very low at the front and the netting there is detailed with a pattern done in a gold metallic thread. The back dips into another low V and the entire neck line has a caped effect made from a black semi-transparent chiffon. Over this is the outer robe that is made of that same black chiffon. This gives the robe a sexy, transparent effect. The outer robe is absolutely fantastic. The cuffs and neckline have a huge and dramatic feather finish to them. Each sleeve has a wide cut with more of that gold embroidered thread design set above each feather cuff. I love how the sleeves are set on an angle. Around the neck are more of the feathers and it has a decadent Old Hollywood feel. This is everything you want from a Bob Mackie. It is over the top, glamours and extravagant. You could probably get away with wearing either piece out for evening pieces which just adds to the fabulousness of the set. All original tags attached and unworn. Excellent condition.

Both pieces slip on. The robe has ties at the front. Tagged a P (small) and the set has all its original tags. Has never been worn

Inner gown
Shoulders: no defined seam
Bust: to 18" flat across from side seam to side seam
Waist: to 17" flat across from side seam to side seam
Hips: open
Length: 56" from neck to hem

Outer robe
Sleeves: 32" to end of feathers
Shoulders: 16"
Bust: to 27" flat across from side seam to side seam
Waist-hips: open
Length: 58" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD3531

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

Zandra Rhodes is one of my favorite designers and it is always a treat to have one of her pieces for you. This is an incredible cut velvet fabric that she has had custom made with one of her own proprietary designs. It gives it that incredible Zandra Rhode touch while hearkening back to the decadence of the twenties in feel. 

This is a very wearable, gorgeous piece that can go for a fancier day piece to full on evening wear. The fabric is unusual for her but still showcased one of her signature designs within its patterns. It is done in a rich deep jewel burgundy red and a black chiffon base. The chiffon parts are partially transparent but it is backed in a black fabric so that you get depth but without the dress being see-through. Onto that is the pattern in a fluid devore cut velvet. It is incredible sensual and  feels wonderful when on the body. It is cut to skim over the body with a loose and easy waist. It gently widens out as it nears the hem and this makes it very easy to wear. The bodice has just a touch of detailing across the front with a small detailing of hand applied sequin paillettes and beads. The sleeves are unlined and are cut wide and full to just about the elbow, they are open along the inner seam and slightly overlay there so that when you move they have incredible movement Each is finished with the same bead and sequin detail all around the edge. I love the silk finish around the wide cut neckline. It is the perfect finishing detail. The dress appears to have never been worn, or worn very little. Excellent condition

The dress is fully lined in a black silky rayon and it closes with a back zipper. The bead and sequin work detailing are hand applied. This came from the estate of a very good Rhodes client and may have been a custom order. It looks to have been worn very little if at all. 

Shoulders: 15.5"
Bust: to 19" flat across the back from side seam to side seam
Waist: to 15.5" flat across the back from side seam to side seam
Hips: to 21" flat across the back from side seam to side seam
Length: 53.5" from shoulder to longest points on the hem

Modern Sizing Equivalent: SML-MED

Item# DD3528

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

Versions of this dress have appeared in several museum exhibits of his work and I have included a photo from one of the Halston's books that shows a close variation of this style. This is classic Halston from his main label couture line. These one shoulder pieces are one of the most instantly recognizable looks that he ever created. I have versions of these in my own personal collection and this one is a very versatile version of his classic dress

The dress is entirely cut on the bias and utilizes his signature minimal seaming. Halston defined how woman dressed in the 1970s and these one shoulder dresses in particular were tremendously flattering to the body. It is also insanely sexy while still being extremely comfortable to wear. It is feather light and you are barely conscious of wearing anything. The fabric is a very fine light silk chiffon that moves and drapes beautifully. The silk used is on two tones of hand dyed color. The inner dress is a deep raspberry and then one half of the overlay is a deep burgundy. Both  colors are flattering on most skin tones and are a beautiful alternative to black. The inner dress is suspended by a single hook at the shoulder and is made of three full layers of the silk. A second, separate piece is made of the same silk. That second piece is an oversized rectangular constructed from two attached layers of the silk chiffon. This is what allows you to be able to create countless looks. I quickly styled a half dozen variations by tying the over layer in different ways around the inner dress and you could easily get more elaborate if you started using brooches or got more creative. When draped over the shoulder and tied it creates a full second outer layer, cascading down and over the inner layer for his classic one shoulder silhouette. It is spectacular. This is a rare example of Halston at his very best and it is easy to see why it is a piece favored by Museums. Presents as excellent condition but please review the full condition notes below

Constructed in multiple bias cut layers as described above. The inner dress slips on and has a hook at the top of the shoulder and the second outer layer is a double layer of silk in two colors tones. Hand finished and the bias cut should allow it to fit a range of sizes. There are two marks n the inner dress's skirt. One on the hip and one on the lower skirt. You would not see either with the overlay worn over it. The marks are only on the top layer so you could remove the one layer or have it switches to the inside. Note the length will come up when on due to the bias cut

Dress
Bust: 13.5-17.5" flat across from side seam to side seam
Waist: 13-18" flat across from side seam to side seam
Hips: 13.5-21" flat across from side seam to side seam
Length: 62" from shoulder to hem but will come on once one

Outer Layer
80" x 39"

Modern Sizing Equivalent: XS-MED

Item# DD2473

Photo Credit: "Halston" by Phiadon, 2001. Various Halston dresses held in The Metropolitan Museum Permanent collection, NYC

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

This is a gorgeous little YSL dress form the 1990s that has a fun and exotic vibe to it. The dress is made from a crisp cotton that has enough weight and structure to it to perfectly fall into the line that Yves desired it to have. It has a nod to the Hawaiian dresses of the forties in its color and cut. I love the bold purplish-fuchsia color that is combined with a soft grey and a charcoal to make up the abstract print that covers the dress. The shape is soft and cut to skim over the body. The dress is suspended from wide straps that curve around each shoulder. The bust is more fitted and gathered for fullness. and shaping. The skirt is a faux wrap that overlaps over itself along the side with the bow, So when you walk or sit it will open a bit to show some leg. On the one hip is a large half bow that adds amazing shape and detailing. It is amazing on the body. It appears to have never been worn, or worn very little. Excellent condition

Lined through the bodice in the same fabric and the skirt is unlined. It closes with a side zipper. Tagged a vintage YSL 42. It appears to have never been worn or worn very little

Bust: 18" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 15.5" from shoulder to waist
Skirt: 26" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3527

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

The wrap dresses and jumpsuits by Diane Von Furstenberg have become an iconic staple and this is one of the originals. Diane moved to New York with her husband, Prince Eduard Egon Von Furstenberg in 1969. She had design aspirations and in 1970 showed her first collection. It was in 1972 that she first debuted her now-iconic 'wrap dress' for the working woman, revolutionizing American women's apparel. By 1976, she had sold 5 million wrap dresses, landed covers of Newsweek and The Wall Street Journal and was a regular within the pages of Vogue. By then she had added the jumpsuit to her line up and they were a huge success.

Girls bought these jumpsuits in droves and wore them to travel, dance in, and pretty much everything else. You do see Diane's dress versions of these pieces from this time period pop up more often then the jumpsuits do, but I am always on the lookout for these as well. They are harder to find but worth the hunt. This one with its gorgeous floral print in soft pastels is wonderful. The print is screened onto a soft stretch jersey and the design covers the jumpsuit from head to toe. Parts of it almost feel painted on as there is a slight bit of texture to the print. It has long, lean lines and makes you look and feel supermodel tall in it. The top is cut in a halter style and it curves up and around the neck. This leaves the back completely open and bare. It has its original matching tie belt that you can tie around the waist to cinch it in more if you wish. The legs are cut extra wide straight and long so that when you stand still it feels like you are wearing a dress. It is only when you move or sit that you realize that it is legs. The hem of each leg is a full 50" around. The final result is one long, lean, supermodel silhouette. It appears to have never been worn. Excellent condition.

The jumpsuit is unlined, and buttons to close behind the neck and has a low set zip at the back. The fabric is a soft jersey that has an almost heavy T-shirt feeling finish to it. The fabric does have some stretch. It appears to have been worn very little if at all.

Bust:the open back means there are no true side seams
Waist: 13-14.5" flat across from side seam to side seam
Hips: to approx 20" flat across from side seam to side seam
Bodice: approx 15.5" from top of shoulder to waist
Pant length: 41.5" from waist to hem with 2" turned under the hem
Inseam: 31.5"

Modern Sizing Equivalent: SML-MED

Item# DD3525

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

The beading technique used on this dress is distinctive and it led me to a dress from this the Fall 1974 collection that uses the same beading technique. That one was photoed by Guy Bourdin for Vogue that season.  And a twin of of that dress was auctioned off at Sotherby's with the final hammer reaching 3000 euros. Examples of Karl's work during this time period are held in museums around the world and are rare finds. This is an important piece of fashion history.

In person, this dress is even better then how it photoed. The cut is simple but it is very sexy with a wrapped feel to the bodice and its long silhouette. The dress is made out of a black silk crepe that has a slight bias cut to it that allows it to flow over the body and mold to your shape. Gold glass tube beads are applied in little angled rows over part of the bodice to highlight that feeling that the dress is wrapped around the body. The beads have been hand applied and are set onto the bodice on the one side up and curve up and around the neckline. From there they wrap around the waist and wrap around the hip in a long curve. This amazing design really emphasizes your curves. The neckline is high and the back curves and dips down quite low to leave the back bare. I love the wrapped illusion created by the way the beading is applied over the bodice and how the neckline curves up and around the neck in such a graceful line. The dress skims over the hips and flares out once it reaches the hem with a touch of a fishtail effect at the back and a side vent that really allows it to flare out as you walk. It is magic once on an actual body. Excellent condition

Partially lined on the same silk through the bodice and the skirt is unlined. It closes with a side painted metal zipper. Hand finished interior and beautifully constructed.

Bust: to 17" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 60" from neck to front hem,  62" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD3293

Reference Photos: F/W 1973-74 Chloe by Guy Bourdin for French Vogue.

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 vintage Lanvin dress has a brilliant color and print combination on a crisp white base. The jersey fabric it is made of was considered one of the new 'miracle fabrics' of the day as they gave women the option to wash and wear and travel with pieces that needed little or no ironing once you arrived at your destination. Lanvin began producing pieces from these jerseys in the early 1970s to appeal to their younger, jet set clients. I love when I find great examples of these for this time period in the label's history. The dress has long sleeves that pouf out slightly above their buttoned cuffs. It buttons all the way up the front so you have the option of wearing it fully open and over something underneath. The collar is oversized and ends in long points that sit almost in top of the shoulders when the top few buttons are left undone. It falls in a straight line to the hem, widening out very gradually as it nears the bottom. This leave the waist loose and easy. You could easily add a modern belt if you wanted more shape. I love the brilliant, over-sized floral print that covers the dress and the incredible colors that have been used. The fabric is easy to care for and this is a great piece to travel with. Excellent condition.

Unlined and buttons all the way down the front to close with fabric covered buttons. Each cuff buttons to close. The fabric does have some stretch. It appears to have been worn very little if at all

Sleeves: 24"
Shoulders: 15"
Bust: to 18" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 55" from neck to hem with 3" turned under the hem

Modern Sizing Equivalent: SML-MED

Item# DD3519

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

The twin of this dress looked amazing on the runway that season and I am so pleased to have this one in the shop. Finding runway references for Mugler's work is not always easy as he would often change designs for production and produced many pieces that were not shown on the runway. It's an extraordinary find.

I love the sharp fitted lines of the dress and how the ruffles on the bodice feel almost scandalous with its nod to lingerie. This is classic Mugler and the ruffles gives the dress that overt sensuality that he so often worked into his creations. The dress is made out of a black jersey that is a touch thicker then normal so really molds and accentuates your curves. It is then seamed to further create that fitted shape that you see. The seams are all set into curving lines that move down the dress to create an hourglass shape. The seams also help to give the dress structure, shape and support. The waist nips in and the hips curve out following the lines of the body. Pockets set to curve around each hip, which is a brilliant way to give the hips more shape. The skirt is cut above the knee and curves in slightly at the hem for a fitted silhouette. The bust is spectacular. It is seamed and molded like a bra cup and then little ruffles in an ivory silk are applied to the edge at the front. The tops of the ruffle is jagged and finished with an embroidered edging. So you are completely covered but at the same time it has that French maid, lingerie feel to it. You only have to look at the runway photos included to know how wonderful this one is. Excellent condition

Fully lined in a black silk and closes with a back zipper. Tagged a vintage Mugler 38. The cups will probably fit up to a small B

Bust: 16.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 34" from top of straps to hem

Modern Sizing Equivalent: XS-SML

Item# DD3518

Reference Photos: Spring 1997 Couture Thierry Mugler Runway Collection, Look 15.

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

Glossy black sequins that are extr