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

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

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

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

Modern Sizing Equivalent: SML-LRG

Item# DD4423

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

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

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

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

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

Modern Sizing Equivalent: XS-MED

Item# DD4422

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

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

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

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

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

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

Modern Sizing Equivalent: SML-LRG

Item# DD4421

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

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3602

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

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

John has dived into his archives once more for me and today I have two of the dresses he sent for you with more to come. This is a runway piece from 2005. The bead work on it was done by hand by one of the same European ateliers who did beading for many of the Couture houses for this time period. John is one of my favorite American designers and right out of the gate he won the Coty Award for his work. The first time in 1972 and then again in 1976. He designed clothes that were simple and elegant but glamorous. His work veers towards minimalism with sharp tailoring. Striking evening wear was his signature and he is renowned for his cutting and tailoring. It is an extraordinary privilege to have pieces directly from his archives and these are things you will never see again. This one is a work of art and it is just extraordinary to see it in person with all of that extensive bead and sequin work

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

This dress is absolutely stunning. The fabric is completely covered in thousand of tiny deep silver seed beads and teeny tiny iridescent aqua coloured sequins.This gives the dress some weight - we weighed it and it is just over 6 pounds - but it is so beautifully made that it balances and glides over the body perfectly and does not feel unwieldy at all. The front plunges right to the waist with two long triangles curving up towards the neck and hooking at the back. On the inside of each triangle there is a panel of the same fabric sewn down their lengths. These drape over the bodice to create a ruffle that falls from the top of the halter to the waist and gives the front a soft and feminine finish. The back is left completely open as a result so when you turn all you see is bare skin I love that curving cut of the sides as it scoops down. The waist is seamed for a bit of definition and then the skirt falls from under there to the floor. It widens out to the lower skirt and this give it beautiful movement when you walk. The colour is this magical deep aqua and silver mix and the way the beads and sequins are set give it a stunning pattern over you. The way this catches the light is fantastic. It is a very special piece. Excellent condition.

Unlined and closes with a low set side zipper at the back and hooks to close behind the neck. Hand finished throughout. Silk chiffon panel finished hem and edges. It appears to have been worn very little if at all.

Bust: no true side seams
Waist: 12-12.5" flat across from side seam to side seam
Hips: 17-21" flat across from side seam to side seam
Bodice: approx 15-16" from top of shoulder to waist
Skirt: 52" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD4399

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 set walked the runway and was worn by none other then Carla Bruni. Which makes this suit that much more special. It also still has all three of its original pieces and I love that as well. Christian Lacroix launched his Haute Couture house in 1987 and his work was an instant worldwide sensation with the press declaring him to be the King of Couture. A ready-to-wear line soon followed along with perfumes and menswear. His collections were always exotic and lavish affairs. He drew his inspirations from across the decades and I doubt there was ever a more high glamour couturier. This suit with its supermodel tie-in is very special and a stunning example of his work during this time period. His couture pieces rarely come to market and I love having them in the shop when I can get them.

I love that this still has all three original pieces. It came to me with the jacket, skirt and the inner silk top that matches the lining of the jacket. Which is a very traditional Haute Couture detail. Having all three pieces makes it that much more versatile since you can mix and match all of pieces and wear them in so many different ways. The inner top is made of a silk with a abstract vertical wavy pattern in ivory, pale blue and pastel lavender. That exact same silk is used to line the jacket so when you wear the jacket open you get that incredible continuation of design. The skirt and the jacket are both made from a textured wool boucle with the skirt being a two-tone aqua and pale blue and the jacket picking up the lavender in the silk top. Unusual colour and pattern mixing was a forte of Lacroix and we see that beautifully in the suit. The jacket is stunning and every seam has been meticulously executed. The sleeves are long and the rounded shoulders have soft padding inside for a touch of structure. The seaming is set in curving lines to create the shape that you see and there are little boned Silk satin inserts at the front for shaping. That same silk details the inside of the collar runs across the top of the shoulder and along part of the edge of the split cuff sleeves. At the back he used that same fabric to gather and bring in the back of the jacket for shaping and add a pretty romantic detail with the bow. It snaps to close down the front with silk covered hidden set snaps. Buttons are sewn on the outside and each is a stunning jewel. Gold tone metal has been set with rhinestones crystals and turquoise. So even if you wear the jacket on its own or closed you get this stunning jewel detail there. The skirt is precisely and simply cut with that slight flare as it reaches the hem. The front panel wraps over which as a touch of detail and also leaves a hidden opening underneath so that when you sit or walk you get a tiny flash of leg. It is lined in an extremely high-quality pale blue silk. This is a stunning example of his work that will never go out of style and it is exceptional. The fact that it is true Haute Couture just makes it better and the workmanship is out of this world. Excellent condition.

Both the dress and the jacket are fully lined in silk described above. The top is made of a single layer of silk. Top closes with a hidden setbacks zipper and has ribbon finishing at the hem. The skirt closes with a side zipper and couture hook and eye at the waist. The jacket has hidden set snaps down the front. All three pieces are completely made by hand and have their proper Haute Couture tags present with sequential couture numbers under the tag.

Jacket
Sleeve: 21"
Shoulders: approx 15"
Bust: to 18" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Length: 19" from neck to back hem, 22" the longest points of the front hem

Top
Bust: to 17" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Length: 21" from shoulder to hem

Skirt
Waist: 13" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 21" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4391

Reference Photos/Video: Spring 1996 Christian Lacroix Runway, Look 4. Model Carla Bruni.

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

This is the twin of the dress that Anne Hathaway wore to the premiere of Brokeback Mountain in 2006. It is from the Cruise 2006 collection and it is extraordinary. For this show Karl Lagerfeld invited his guess to the Place de la Concorde. He had a fleet of green vintage buses adorned with Chanel logos and these transported his guests on a ride through Paris. Models paraded down the aisle among the passengers and at scheduled stops they would switch buses so that everyone saw the entire collection. Karl said at the time that he 'used to love riding the bus in Paris as a school boy' and that was the inspiration behind the idea of the show. Lagerfeld wanted the collection to be lighthearted and easy and to be a tribute to Paris. This is a stunning dress from that season and I love the tie in with Anne. It makes it that much more special.

First thing that will strike you about this dress is that it is almost shockingly light in weight. It is almost a surprise to see it with all of the embellishments on it and then pick it up and have it feel like you are holding a cloud of silk. The silk is so light and so fine that it feels like magic. It is a deep blue colour and the entire dress is made out of two layers of it with an inner silk chiffon layer to give it a touch of opacity. The dress falls from the shoulders with straps that curve up and around you. It is scooped at the front and back in a simple almost tank style. The bodice is meant to skim over you and there are built in round cups to help add a touch of coverage over the breasts. The top layer of tulle on the bodice is a separate piece that is tacked into place around the waist. The dress flows out below that and the skirt widens out as it reaches the hem. Around the lower part of the skirt there are built in panels of tulle set in triangles all the way around. This is a nod to the old Hollywood dresses of the 1930s and it's a stunning addition to the dress. They give the lower part of the dress tremendous movement and volume when you move. The palettes that cover the dress are the most striking part of the dress. They are done in soft muted pastels that range from gold to blue to pink. Each individual oversized sequin has a ombre affect on it. They are finished with a more muted metallic finish and are tremendously beautiful. These are overlapped to highlight around the neckline arms and around the waist and then they are scattered in rows down and over the bodice and skirt. They are denser around the hips and then are spread father apart as they reach the hem of the skirt. The panels that are inset into the skirt for volume are just the tulle alone so that you get this nice contrast when you move. The dress came with a matching shawl made of the same tulle. It's huge size lets you wear it almost like a cape over your shoulders. It is also so light and fine that you can wrap it around your neck, use it as a head scarf or as a turban. It is just phenomenal and I am very happy to also have a reference video of Anne in the dress so you can see how beautifully this moves. No matter how good it looks on her or on the dress form nothing will prepare you for the way it feels when you have it in hand. Excellent condition

Fully lined in a blue silk chiffon closes with a bat hidden sets zipper. It appears to have been worn very little if at all.  The bias cut tulle does give it a bit of range. Tagged is Chanel 40

Bust: 16-18" flat across from side seam to side seam
Waist: to 16" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Length: 60" from top of shoulder to hem
Scarf: 68" x 74"

Modern Sizing Equivalent: SML-MED

Item# DD4385

Reference Photos: Anne Hathaway in Chanel at the premiere of Brokeback Mountain, December 2006.

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

This is a stunning Dior dress from the Raf Simons era and I believe that it is the production / retail version of the dress that Jennifer Lawrence wore to the Hunger Games Mockingjay premiere in November of 2014. You can see the similarities in the cut and the use of embroidery at the front. I think I might love this one with its startling combination of pink and blue even more. It is extremely beautiful and perfectly representative of Raf's time at the label and what his vision for Dior looked like.

I love the pure elegance and refinement that this dress has. It is just simply a beautiful and pretty dress that will be perfect for any occasion. You could not go wrong wearing this. The fabric is a stunning deep blue silk with a beautiful smooth finish. This fabric choice allowed Raf to mold and shape the dress while still keeping it light in weight. All of the seam work on the dress runs vertically from top to bottom and many of the seams are set on curves to bring the shape the dress to life. The construction alone is something to admire on this dress. It really harkens back to the original heritage of the house and there's a strong nod to the work of the original Christian Dior. At the front the neckline scoops down slightly and the arm holes are softly angled in towards the neck. The bodice is shaped around you with curved seams and the waist nips in slightly. The skirt flares out from under there to be quite wide and full. The front hem is cut shorter than the back and again all of the seams help to add volume and shape. At the back the fabric crosses over itself into a V. This overlaps creates a panel at the center of the back skirt that adds extra volume and flare. The skirt is set on a curve at the hem and that extra fabric allows it to billow out behind you when you walk. Jennifer's version had more of a bustle at the back so this one is not quite as full as her dress, however if you did love that look you could add a crinoline underneath the skirt to achieve it because there is room. The final finishing touch is that spectacular embroidery work that is set across the front and over the back of the dress. The embroidery combines a vivid pink thread with a deep red that creates sprigs of flowers. Some of the stems are made from tiny seed beads and the flowers are highlighted with combinations of sequin and bead work. The shock of that pink against the blue is just fantastic and it's really what gives the dress that feel that this is indeed a Raf Simons creation. It is spectacular and appears to have been worn very little if at all. Excellent condition

Fully lined in a blue silk with ribbon edge finishes at the hem. It closes with a hidden set side zipper. Pockets on each hip. Tagged a US2, FR34, GB6, IT38

Bust: 16" flat across from side seam to side seam
Waist: 13.25" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Bodice: 15" from top of bodice to waist
Skirt: 34" from waist to shortest point of front hem, 45" to the longest point of the back hem

Modern Sizing Equivalent: XS-SML

Item# DD4384

Reference Photos: Jennifer Lawrence in Dior at the Hunger Games Mockingjay Part 1 premiere, November 2014.

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

Norman Norell was one of the great American designers. His clothes were wildly expensive in their day and he was credited for the unique ability to translate Paris couture into American ready-to-wear. He started in the film industry and then was hired by Hattie Carnegie. In 1941 he left and and joined Anthony Traina where the Traina-Norell label soon appeared. Upon Traina's retirement in 1960 he launched his own self-named label. He won the very first Coty American Fashion Critics' award ever given in 1943 and then won it again in 1951. In 1956 he became the first designer to earn a place in the Coty Hall of Fame. His signature styles for day ran the gamut from shirtwaists, suits, beautifully tailored coats and clothes that seemed simple at first glance but were logistically complex. Norman himself once said 'To qualify as a designer one should not be afraid to repeat a good design, and certainly must have his own signature'. He achieved that and more. I think every serious vintage collector should have a piece of his work in their archives.

This is a rare dress. It is from the Spring 1968 colelction and its twin in white is held in both the MET's collection and in the Goldstein Musuems collection. As cute as those are n the cream colour I love this deep navy colour which is not only more wearable but very chic.

Norman Norell dresses were cut with an exception eye. Every line and seam is placed exactly where it should be to flatter the body. This particular dress is a fabulous example of his work during this time period. The dress is made from a deep blue wool jersey that has a bit of texture to it. The neckline is rounded and finished in a red to contrast against the blue. It is cut to skim over the bust and then disappears inside the waist. The waist is cut on the looser side and the skirt literally buttons into place over the bodice. It is so unusual. All of the buttons are attached and even though they are connected in some places it is the buttons that hold the dress together. This unusual detail alone makes me love this piece. The skirt extends out from there on an angle. It skims over the wait and hips and then from there it falls to the floor and gently widens out as it nears the hem. It closes with two zippers at the back, one on the skirt and the other on the bodice. The waist is detailed with another band of red to pick up on the neckline and then there is an embroidered anchor on the front. It is amazing. The dress is made to demi-couture standards and the finishes within it are superb. Great overall condition with a note below

Fully lined in a blue silk and closes with a zipper on the skirt and bodice as described above. The buttons are all functional. There are a couple of light grazes here and there that are minor and some very minor light pilling here and there. Some grubbiness to the anchor thread. Please see the photos before the museum reference photos. Hand finishes throughout.

Bust: to 18" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 17.5" flat across from side seam to side seam
Length: 36.5" from neck to hem with 3.5" turned under the hem

Modern Sizing Equivalent: SML-MED

Item# DD4379

Reference Photos: (1) Spring 1968 Norman Norell Ensemble in The MET Museum Collection.  /  (2-3) c.1960s Norman Norell dress in the Goldstein Museum of Design 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.

I am very excited to bring you our latest mini capsule collection. This is one of nine dresses from a single owner collection. Her collection was lovingly sourced over decades and she has decided that it is time let them back out into the world for others to enjoy. For this capsule we have moved forward to the 1940s and 1950s. Really good examples from this era are becoming increasingly hard to find and these are all gorgeous little examples of that time period. This is just a tiny sampling of her overall collection and I hope to have more of these capsules for you in the future.

Adolph Schuman started the Lilli Ann company in 1933 and named it after his wife Lillian. This dress is from one of the earlier labels and is from the earlier part of the 1940s. We know this because right after the second war ended Adolph went to Paris and the subsequent labels had 'Paris' added to them. The label was known for their beautiful work and this is a stunning early and rare example of their work.

This stunning little dress combines an inky black velvet that runs down the center of the dress and then the rest of the dress is a teal brocade that has an amazing detailing applied over its surface. The fabric is amazing. The detailing on it is a looped metallic ribbon that has a raised effect off of the fabric. It is set in swirling curves that follow the design in the brocade underneath. I’ve never seen anything like it. The swirling design gives an extra bit of detailing and adds a metallic glint to the entire surface. The cut of the dress is equally unusual. The two fabrics meet at the top of the shoulders with the black velvet set underneath. It is cut into a V at the front and the shoulders are set wide so they fall slightly to the edge of your shoulders. This then wraps around you to create another V at the back. At the front the wide panel of velvet extends down from there and runs down the center of the dress to the hem. The rest of the dress is made of the teal brocade and it comes up and wraps around the back of the neck. This creates this unique double neck and shoulder detailing that is gorgeous. It nips in at the waist and the black velvet at the center makes the waist feel even smaller. The skirt falls from under there and it is very full. I have shown it with a light crinoline underneath, but even without that, it is almost as full because there is so much fabric in the skirt. If you added more of an underskirt you could make it a true cupcake feeling dress. The colours are stunning and that fabric is beautiful. Excellent condition with a small note below.

The bodice is lined in a black silky rayon and the skirt is unlined. It closes with a back metal zipper and hooks to close at the back. I see a bit of flattening in the front velvet panel bit it is minor. It just makes the light catch the velvet in some spots differently than others. You can see it in the photos here.

Bust: to 19" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of bodice to waist
Skirt: 29.5" from waist to hem

Modern Sizing Equivalent: MED-LRG

Item# D643

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

The twin of this dress walked the runway for the Fall 1987 show and I love having a runway shot of it for you so that you can see how fabulous it is on the body. We even found one where you can see the model walking back down the runway so you can see how gorgeous it is from the back as well. This has always been one of my favourite dresses ever since I first saw the catwalk photo and I am so pleased to have one in the shop.

This is a fantastic dress. It is made from a stunning metallic lace that has a blue-purple colour running through it. Over that are thousands of glossy black sequins that are placed onto the lace to follow the pattern underneath. I love how these sequins catch the light from every angle and add a bit of glitz to the dress. The lace is open cut work all through and to make it not completely see-through Yves lined it with a deep blue silk chiffon. That said when this is on it definitely has a touch of transparency to it. Personally I love that about the dress. The dress is cut to sit off the shoulder for a bare expanse of skin. The neckline is finished with a black silk organza ruffle and this choice of fabric gives a just a touch of stiffness so the ruffle holds its shape around you instead of just flopping. The sleeves fall to just passed the elbow and each is finished with a ruffled cuff. The dress it is cut skim over you. It runs over the bust and past the waist with no seaming there to break the line. At the top of the hip there is a seam that has another flounce of ruffles. The skirt falls under that and widens out quite a bit. The bottom hem is also finished with a ruffle edge and I love that the back of the skirt is set to hang longer than the front. This gives you a beautiful curve from the side and also allows the skirt to have attach more volume than it would otherwise. It is just a fabulously gorgeous dress and really showcases Yves' innovative eye and design genius. It appears to have been worn very little if at all. Excellent condition

Fully lined in a dark blue silk chiffon. It closes at the side with a zipper. Tagged a YSL 42. It looks to have been worn very little if at all.

Sleeves: approx 18" from the drop. 12" around the upper arm
Bust: to 18" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Seam across the top of the hips: 19.5" flat across from side seam to side seam and open under that
Length: 30" from top of center neckline to front hem and 36" to back hem including top and bottom ruffle

Modern Sizing Equivalent: SML-MED

Item# DD4271

Reference Photo: Fall 1987 Yves Saint Laurent Runway.

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD4233

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

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

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

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

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

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

Modern Sizing Equivalent: XS-MED

Item# DD3925

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

This amazing little dress is from the days when founder Consuelo Castiglioni was the head of the company and acting Creative Director. The brand launched in 1994 and quickly became known for their innovative prints and the way she mixed and matched colors and draped fabrics. This is classic Marni from this time period. It is a beautiful little dress

This dress is one of her very easy to wear loose and open draped pieces. It is just genius. It has sleeves that run just above the elbow and the cut through the bodice is loose and full but gathered all up and to the one side. The neckline is a simple off set scoop then at the back it scoops a bit as well. There are long attached ties on either side of the neck and I have wrapped them around like a choker. When it's on the body you can also tie them looser so you can wear this dress off the shoulder as an option. Under the V at the front the fabric has been gathered in and up. The dress falls in a loose draped shape around and below that. The waist is seamed but it's very open and the skirt has an easy cut as well. It has such a quirky shape that you can totally wear and style this a few different ways. You can also add a belt to give it more shape and an entirely different look. The fabric is a deep blue that's almost a black and is very light in weight. It is a great example of her work during this time period. Plus it has pockets. It appears to have been worn very little if at all. Excellent condition

Unlined and slips on to wear with a hidden set side zipper. Pockets hidden along the hip seams. It looks to have been worn very little if at all. Tagged a 42. The loose and easy cut should fit a range of sizes. It will drape more on a smaller frame and be more fitted on a larger

Shoulders: no defined seam
Bust: to 26" flat across from side seam to side seam
Waist: to 20" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 39.5" from shoulder to hem

Modern Sizing Equivalent: SML-LRG

Item# DD4208

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 would have been designed while Youssef Rizkallah headed the company. Youseef joined the Malcolm Starr label in 1969 and remained as the head designer until 1975. The years that Youssef headed the line are among some of my favorites and in particular his pieces that utilize quilting and felt patchwork are truly iconic. Rizkallah was born in Egypt and studied at the Ecole de dessin appliqué and the Ecole des arts decoratifs in Paris. His designs seem to combine that sense of couture lines that he gained in Paris with the color and vividness of his homeland. These felt applique pieces are among my favorites of his. This piece is a little extra special as it is a piece that was deaccessioned from FIT museum. It's archive numbered tag from there is found on inner lining of the skirt.

I love these Malcolm Starr pieces - they really are works of art and the best of the sixties/seventies arts and crafts movement. The fabrics for this one combine a cotton for the bodice and a wool for the skirt. The cotton used for the top still has a crisp finish to it. The sleeves are a single layer of the cotton and then the rest of it is a padded quilted cotton that has top stitching and what feels like a touch of padding inside. The skirt has a slight felted finish to it and then onto that are those fantastic felt appliqués. These are both fabrics that hold shape and color beautifully. The bodice is cut to skim over you with a high collar and matching fabric covered buttons that run down the front. It tucks and is attached into the skirt. One interesting thing to note is that is that it is just tacked along the inside waist. What I love about this is that in theory you could actually separate these two so that instead of a one piece you have a separate top and skirt. It would be extremely easy to do and it would make both pieces far more wearable because you could then mix and match them. In fact after seeing this dress I suspect that many of these felted appliqué skirts that you see by him out there for sale once did have an attached top.The  waist line is defined with a band with a piped velvet band that circles around and ends in a bow at the front. The skirt has pockets hidden along each seam. I love the appliqué work that runs all the way around the dress. It looks to depict a woman and two boys holding balloons and then this pattern is repeated all the way around. The figures and balloons are all made from appliqued felt that has been applied by hand to the skirt. I love the red band at the bottom that finishes off the skirt. It is the perfect pop of colour to highlight everything else and anchors the piece. It's gorgeous and these felted pieces are among the most desirable of all of the Malcolm Starr pieces out there. Excellent condition with a small note below

Both pieces are fully lined except for the sleeves. Each piece has its own back set zipper to close and the cuffs have hidden set zippers. The piped belt snap and hooks into place around the waist. Pockets along the seams at the front. The buttons at the front are technically functional but the opening has been tacked closed as it's only meant to be decorative. I see grubbiness at the hem along the fold line and the occasional teeny darkening to some of the belt pieces. The pull tab of the zipper pull is missing off the skirt.

Sleeves: 24"
Shoulders: 14"
Bust: 17" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: 16" from top of bodice to waist
Skirt: 44" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD4169

Reference Photo: Lauren Hutton in Malcolm Starr, Vogue 1970.

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

This is a stunning set whose twin walked the runway that season. The set is incredibly beautiful and chic once on the body. Vogue noted that "The reinvention of the iconic Chanel suit began with fluted knee-length coats, worn, with ropes of glistening pearls at the neckline" and closed by stating that "This was a triumphant collection for Lagerfeld, as realistically wearable as it was dreamily desirable." I love that we found both runway photos and some video footage for you to see how dynamic this is on the body. True Haute Couture pieces by Chanel are an extraordinary find as they are so very rare and hard to come by. It is an incredibly beautiful and historically important example of the work that Karl was doing for Chanel during this time period. It is absolutely gorgeous to see in person.

I love how diverse and different this set feels depending on whether you wear the pieces together or separately. The set is made up of two pieces. A gorgeous to-the-knee coat with a chic little dress underneath that. Both of the pieces are constructed from a surprisingly light weight deep blue boucle. This fabric was actually a centerpiece of the show and a new step forward in the way they made their tweeds.  Karl wanted them to feel almost weightless and easy to wear once on the body. The dress mixes that with a silk chiffon bodice to carry on the feeling he strove for with these pieces. “Fragility,” he said. “Everything is almost weightless.” The inner dress is cut in the sleek and simple shape that skims over the body and flares out slightly as it nears the hem. The skirt is made out of the same deep blue tweed as the jacket and then the top is attached to that and is made out of a deep blue silk chiffon. The top is all about delicacy. It is made of two layers of the silk. Each sleeve is long and ends in a neat little buttoned cuff. Both the front and the back are detailed with flat knife pleats. I love how the front of the skirt dips up into the top and at the back it dips down. This little shaping detail just make it lie even better on the body. The workmanship is stunning. The coat slips on over that and has light shoulder pads for a touch of structure. The sleeves are long. It has no closures except for a hook and eye at the neck. This allows it to flare out around you and gives it a softness as you move. The jacket is incredibly detailed. It has four top set pockets on the front and each has a row of glass beads along the upper edge. The same glass beads circle the hem of each cuff and go around the collar. The glass beads cleverly act as a weight for the coat so that it always falls perfectly once on the body. I love the low scoop of the front neckline and the ribbons that sit at the base of the neck. You can just let them hang loosely or tie them. Ribbons also sit on the edge of each sleeve and again you can leave them loose or have them tied into a pretty bow for a more formal feel. The jacket and the skirt of the dress are lined in a high-quality black silk. This Chanel set is exceptional and is true Haute Couture. It is a beautiful piece showcasing the work that the Chanel ateliers are capable of and of Karl's time there. Excellent condition.

Both the skirt of the dress and the jacket are fully lined in a fine black silk. The top is made from two layers of silk chiffon. The dress closes with a series of silk covered buttons at the back and each cuff has two silk covered buttons and loops. The jacket has a hook and eye at the top of the neck and at each cuff. Both pieces have an appropriate Haute Couture label and numbered tape present. Extremely faint spot on the front bodice. Slight pilling here and there on the jacket but I am being picky.

The Chanel boucle is created with their proprietary method of weaving that they themselves describe as "by weaving the warp and weft, using a variety of different kinds of threads which creates a unique and somewhat irregular appearance. The warp – vertically strung – is the background of the fabric, the base that will support the assembly of materials. There can be up to 12 different threads used for a single warp. The weft – woven horizontally – gives the fabric its unique character and can have an unlimited number of threads. Tight, perforated, textured, thick, with a relief, plaited, random, twill… the potential number of effects is endless". This technique gives you that classic Chanel look.

Jacket
Sleeve: 24"
Slightly dropped shoulders: 16.5"
Bust: 19" flat across from side seam to side seam
Waist: 19" flat across from side seam to side seam
Hips: 21" flat across from side seam to side seam
Length: 39" from neck to hem

Dress
Sleeves: 22.5"
Shoulders: 15"
Bust: to 19" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 38" from shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4147

Reference Photos/Video: Spring 2003 Chanel Couture Runway, Look 3.

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

I am starting to work through a collection of couture pieces that I am handling at the moment for my client and all she could recall for this piece was this it was her mothers and that it was from the 1990s. I have not yet found a photo reference for this one but when I do I will add it and send to the new owner. The set is incredibly beautiful on the body. True Haute Couture pieces by Chanel are an extraordinary find as they are so very rare and hard to come by. It is an incredibly beautiful example and historically important example of the work that the Chanel ateliers were doing during this time period. It is absolutely gorgeous to see in person.

The ability that this set has to transform once on the body is fabulous. With the jacket on the set has that classic Chanel suit feel and it feels very elegant and reserved. But once you take the jacket off it takes on more of the feel of a more sensual evening piece. The dress has that easy dropped feel of the twenties that Karl so often touched upon in reference to Coco's initial designs for the house. Both pieces are made from a deep blue silk organza. This fabric allows it to keep the shape that he intended while still keeping both pieces extremely light in weight. The dress is dropped from the shoulder from wide straps that curve up and over each shoulder. The bodice is easy fitting and cut to skim over you with a shallow V at the front. It is hand pieced together in a pattern of panels that are meticulously sewn together. The waist is dropped and then from under that the pleated skirt flows out to the floor with incredible movement. The combination of this fabric choice with the pleats gives the skirt incredible movement. The pleats open and flare outward as they reach the hem and this allows the skirt to swing out around you. Two layers of silk tulle are built-in underneath the skirt to add to and create the volume that you see. The lightness of the fabric and the pleats combine to make the skirt move at your slightest movement. I think it's incredible to see this on and moving. The jacket sits over top of this and it has a soft and simple cut. The neckline is cut wide across to follow the neckline of the dress underneath. The collar is wide and notched for that bit of a 20s feel to the design. The sleeves are long and each has a notch that runs up the inside seam. It hooks and snaps to close down the front. It does have structure but it's meant to look soft on the body. There are small shoulder pads in each shoulder but they are soft and light. There is a signature Chanel chain at the base of the jacket so that it hangs perfectly. All of the work is meticulously done by hand to Haute Couture standards. It is an incredible piece of Chanel couture. It's very beautiful and even better in person. Great condition with a note below

The jacket is fully lined in a blue silk and closes with hidden snaps and hook and eye at the front. A signature Chanel chain runs around the inside hem. The dress is lined in the same silk organza through the bodice and then the skirt has two layers of silk tulle. One layer is black and the other is a matching blue. The dress closes with a zipper and then there is a separate set of snaps to close on each of the three layers of the skirt. An inner waist stay hooks to close. Some of the edges of the seams have slightly faded. Mainly on the jacket and bodice of the dress. It gives it a kind of degrade look. It almost feels intentional because it's so even everywhere but I can't say for sure that it is. Please see the shots after the label shots and on the general shots as well. Some of the pleats have softened slightly in the skirt. Both pieces have an appropriate Haute Couture number and tape

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

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

Modern Sizing Equivalent: SML-MED

Item# DD4139

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

There are hints of this dress from both the 1986 collection and in the 1988 collection. The original owner did buy it in the 1980s but I do not have the exact day. I tend to lean towards the earlier date for it but I have included reference photos from both the above mentioned collections. It is a stunning example of Valentino's work during this time period.

The dress is beautiful to see in person. It flows over the body from the more fitted bodice and the lightness of the silk allows it to move and float around you when you move. The bodice is a stunning example in shaping and couture techniques. Inside it is boned and has built in cups. This interior structure holds it perfectly in place over the body once on. On the exterior the silk is hand set and gathered over the bust and all the way around you. Each individual gather is meticulously hand stitched into place. Above this more structured part of the dress is a single layer of the chiffon. At the front it scoops in a higher set neck and at the back it is set with a keyhole running down to the top of the gathered bodice. The skirt flows out under that in four layers of the silk and each layer is bias cut. This is what allows it to have such beautiful movement when you move. The final touch are those pretty sleeves that are cuffed at the wrist and pouf out around the arm above that. It also has its original very large silk shawl piece. It is beautiful. The dress does have some flaws but is structurally sound. Please review the notes below.

The interior bodice is finished is boned and corseted. The skirt has four layers of silk as described above. The interior corset closes with hook and eye and the silk layer zips to close over. Each cuff buttons with two silk covered buttons and loops. Three buttons at the top of the back neck. There are areas of fading through the skirt that go through the layers. I have photoed the worst of them. There are some faint areas of the same on the silk above the corset and on the sleeves. I see one tiny repair near the hem at the back of the skirt. It comes. I think you could potentially remove the sleeves and upper bodice and use the shawl to create a layer over the worst of the fading or just have it redyed and it would be perfect again. Sold as found and final and the price is according to the description above

Sleeves: 25"
Shoulders: 15"
Bust: 17.5" flat across from side seam to side seam
Waist: 16.5" flat across from side seam to side seam
Hips: open
Bodice: 16.5" from top of neck to interior waist stay
Skirt: 45" from interior waist stay to hem
Shawl: 54" x 52"

Modern Sizing Equivalent: MED-LRG

Item# DD3018

Reference Photos: (1) From the book "A Grand Italian Epic, Valentino", 1988/1989 collection  /  (2-3) The "Degradè" Dress from the Valentino Haute Couture 1986 collection. (4) Cherie, Owner of Shrimpton Couture, by Erin Leydon taken on location at JohnMel Stables 

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

Jacques Fath showed his first collection of just twenty garments in the spring of 1937. It was well received and he steadily built a strong clientele to become of of the busiest ateliers in Paris. He eventually expanded into the American market through the manufacturer Joseph Halpert. In 1948, Fath signed an agreement to produce two ready-to-wear collections a year with Halpert. Jacque did all the designs and then Halpert produced them in America. This was a clever way to avoid the high taxation on fashion that customs had implemented during this time period. This dress is from that early label and it has some extra historical significance since this agreement was one of the first of its kind between a couturier and a RTW company. Fath is considered to be part of the 'big three' post-war Parisian designers, along with Dior and Balmain. The Fath label was shuttered in 1957 after Fath's death three years earlier. One of his signature looks was a fitted hourglass silhouette and this suit has that in spades. It is gorgeous and a beautiful example of his work during this time period. 

This beautiful Jacques Fath suit dates somewhere between 1948 and 1954, the year that the Halpert company closed its doors and ceased producing. And if I had to guess I would put it more towards the earlier part of those dates as you can still clearly see the 1940s influence it has in its cut and line. It is made out of a deep navy blue silk that is so dark that it looks black in some lights. Many Fath devotees will tell you say that it was his designs that influenced Dior's silhouettes and you can see  that in the lines of this piece. It has that perfect cut of this time period that we do so often think of as being associated with Dior. The skirt is beautifully cut into a long lean pencil. The skirt is its original length which is almost miraculous after all these decades have passed and skirt lengths have gone up and down so much. The band at the waist flips inwards when you put it on so that there is no break to the eye at the top of the skirt and then it falls to just past the knees, coming in slightly as it nears the hem. At the back is a buttoned vent. Even though this is technically ready-to-wear it was very well done high end RTW and you can see that on how each button at the vent not only works but has a proper finished button hole to close. The jacket is cut loose and easy through the upper body as was the style during this time period and then the waist is nipped in. He loved adding button details and you can see that in the off-set to the side row of buttons that close the jacket. Their placement becomes an integral part of the design and adds so much detailing. The collar is round and neat. It follows the neckline all the way down to the first button. Each sleeve is slightly cropped and ends in a notched flare. I love this unexpected flare that adds to all the other stunning aspects of the suit. The silk keeps the suit light and easy to wear with enough structure to hold the shape. It is a piece that could easily go from day to evening with a change of shoes and accessories. It looks to have been worn very little if at all. Excellent condition 

Unlined with ribbon fished edges in the skirt. Beautifully finished throughout. The skirt zips with a painted metal zipper and has hook and eye on the waist band that flips inwards to wear. The jacket buttons to close. 

Jacket
Sleeves: 19"
Shoulders: 14.5"
Bust: to 18" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 24" from neck to hem

Skirt
Waist: 12.5" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 30" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3869

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

James Galanos was just 27 years old when he launched his first label called Galanos Originals in 1951. By 1954 he had won a Coty award and the Neiman Marcus award. By 1958 he was producing clothing that could range in price from $200 to $3000, an astronomical price for ready-to-wear for that time period. when you convert that to modern dollars and realize that it would be just under 30k for his upper range pieces. Part of the reason for those high price tags was that his ready-to-wear was made to couture standards. The workmanship and craft put into them were made to a level that was on par with the official French couturiers. Galanos was a master cutter and draper. Grace Kelly was an early fan and other couturiers looked to his work as inspiration. His work is held in all of the major museums around the world and he is one of my personal favourite designers. 

This particular dress reminds me of the pink colour blocked one that was worn so famously by Gloria Vanderbilt. It has that same feel created by his use of different panels of colour through the skirt. This is a technique that he used on several occasions and in several fabrics. The Vanderbilt dress for example was a silk chiffon and I have seen a darker, more column cut version in a silk jersey. This one is made from a silk taffeta and that choice of fabric keeps the dress extremely light while allowing it to have that wonderful volume that you see. The dress is extraordinary and is a testament to the couture construction techniques that he utilized in his work. The bodice is fitted with a slight sweetheart feel to the neckline. It is suspended by two tiny silk straps. The top port of the dress is lined in a silk but has no inner boning. It is meant to skim and hug the body underneath rather then to force a shape. The waist nips in and the skirt is set to feel very full with multiple soft gathers around the waist to create the fullness that you see. The skirt is made of four panels of silk taffeta, at the front here is a green on one side and a chocolate colour panel on the other. At the back both panels are the same blue as the bodice. All of the edges are finished with a gold cord that has been hand applied stitch by stitch. At the front the skirt is split quite high so that when you walk or sit you get an very unexpected flash of bare leg. The silk taffeta is so light that when you walk the skirt has a billowing effect behind you that it just magical. There are no extra underskirts added for these shots. All the volume of the skirt that you see has been created by the cut and the fabric alone. Around the waist the fabric from the silk has been gathered and held in place by more of that gold cording and then the edges of the fabric is set in an elaborate series of ruffles above that. This creates the prettiest ruffled finish that wraps all the way around you, cinches you in, and adds a pretty touch of romance. The work is all hand finished and all the inner seams have a beautiful ribbon finish. This is truly a stunning dress. Excellent condition  

Unlined and closes with a back zipper. Ribbon edge interior seams. It appears to have been worn very little if at all. 

Bust: 16" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: open
Bodice: 17" from top of shoulder to waist seam
Skirt: 42" from waist to hem
Front slit: 26" from hem up

Modern Sizing Equivalent: XXS-XS

Item# DD3736

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