In the 1960s if you wanted to wear something with a dramatic flare then you chose the work of Ronald Amey. He was known for his original use of fabrics and colors and his dresses were priced into the thousands even in the 1960s. His career was very short-lived. From 1959-1969 he designed under the label Burke-Amey. Joseph Burke, his partner, took care of the business side of things. In 1970s he bought out Burke and renamed the company Ronald Amey where he continued to produce his dramatic clothing until the label shuttered in 1976. His clothing was of very high quality and he incorporated many couture level details into their construction. All of his pieces were sewn in-house at his New York atelier

One of his signatures was to combine bold colors, prints and fabrics in interesting, unusual ways and this dress is a splendid example of that. The colors are bold and the mix is dramatic. The bodice and sleeves are sheer orange printed silk chiffon that is layered over the same printed coral ribbon silk that you see used for the skirt. This gives the top a very couture and quirky feel. The neckline is cut wide across the collarbones and it is anchored by a wide band of blue silk satin that is top-stitched in gold thread. This curves around the neckline and then down the front on either side of the notched front. The panel continues past the seamed waist and runs down the center of the skirt where it ends with a large diamond of the same fabric in brown. More of the blue runs around the hem and then is used again for the cuffs on each sleeve. The combination of the orange, coral and blue is spectacular . The heavy dose of all those prints, colors and patterns should not work but it does. The perfect finish is the wide fabric belt made of the same blue as the banding and this wraps around the waist where you can cinch it in and leave it simple as I did or tie it in a far more elaborate way. The exterior is in excellent condition with a note about the lining to review below.

Fully lined in a bright peach silk throughout. Entirely hand finished. It closes with a front zipper and there are zippers on each cuff. The zippers stick a bit when you open and close them. There is shattering of the silk around each arm on the interior. The exterior fabrics are sound and show no wear at all. The exterior of the dress appears to have been worm very little. The dress is even better in person.

Sleeves: 22"
Shoulders: 16"
Bust: 18.5" 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: 40.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3478

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 dates to the early 2000s and is a remarkable throwback to the deco era in feel with its amazing large Chanel logo print that runs across the bottom of the towel. Three vintage feeling girls, complete with one piece swimsuits and a variety of head wraps, dive and cavort among those letter. The rest of the towel combines a curving print made of two blues and the famous double Cs and its bordered in a red stripe.  The entire back of the towel is white. It is made out of 100% cotton printed terrycloth. Excellent condition with a small amount of normal patina from normal, light wear and washing. Minor marks on the back as seen on the last photo here

Measures 39" x 66"

Item# A376

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

From the Spring 2015 collection comes this fabulous little denim mini from Mother denim. With the craze for micro short pieces still going strong it almost feels more relevant now then it did when it came out. The skirt is made from a washed and distressed denim that has a raw cut edge. It has classic front pockets and two back pockets with the M logo stitched on both. It is cut to sit low slung on at the waist and flares out slightly as it nears the hem. This is a classic denim mini that will never go out of style. Unworn and with original tags. Excellent condition

Unlined and closes with a button front. Tagged a 27. New and unworn with original hang tag still attached

Waist: 16" flat across from side seam to side seam
Hips: 18.75" flat across from side seam to side seam
Length: 14" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# S914

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

When Alexa Chung announced that she was doing a collaboration with AG Jeans, the fashion crowd immediately took notice. When the collection was released the pieces sold out worldwide. This little denim mini was the stand out piece from that capsule. The skirt is in immaculate condition and still has all of its original hang tags and shop return tag attached. It is made from a stretch denim so is extremely comfortable to wear. It closes with a series of snaps down the front, each embossed with the 'Alexa Chung for AG' circling around a little flower. The waist cinches in and then then skirt flares out on an angle from there. Its a very easy to wear and a very fun piece. Excellent condition

Unlined and close with the snaps at the front as seen. Tagged a brand size 29. The fabric has some give and stretch. Never worn with all original tags attached

Waist: 14.5" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 17" from waist to hem

Modern Sizing Equivalent: MED-LRG

Item# S915

Reference Photo: Alexa Chung for AG Denim, Spring/Summer 2015.

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 was a key piece from the 2015 Balmain Resort collection. This collection created a frenzy for the pieces offered and this skirt in particular sold out and was wait listed world wide. I think everyone wanted one and almost every brand out there made a copy of it. The skirt has never been worn so is showroom fresh.  It has that curved and fitted cut that Balmain is known for and has the added dimension and texture created by what it is made out of. The denim is heavy distressed denim. This gives the skirt an extra dimension and depth that it would not have otherwise. It is cut to sit high up on the waist and is fitted to hug your hips. At the back is the signature Balmain chunky zipper. The front has pockets on each hip and large gold domed buttons run down each side. It has all its original tags still attached and has never been worn. Excellent condition.

Unlined and closes at the back with the zipper you see. Tagged a modern 40. Unworn.

Waist: 14.5" flat across from side seam to side seam
Hips: 17.5" flat across from side seam to side seam
Length: 17.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# S916

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

Really great Ossie Clark pieces are becoming increasingly harder to find anymore and this one is amazing. The print that you see on the jumpsuit  is by Celia Birtwell and has a floral print in shades of blue on black. That original Birtwell design is called 'One Step, Two Step' and it covers the jumpsuit from the top of the collar to the bottom of the wide pant legs. It has been printed on a black satin and this fabric choice gives it a bit of an evening feel and also shape and structure. The sleeves are cut fairly straight and long with just a slight tapering in at the wrist from the shoulder.  Each shoulder has tiny gathers at their tops so that they have just a touch of volume. The waist seam is set high to land just under the low dip of the neckline. French pleats are set along that seam adding some detailing. The legs seem even longer because of the way it is cut and I love the deep V plunge at the front. My client purchased this jumpsuit at a past auction of Celia Birtwell's personal collection of Ossie Clark pieces. This is most likely a one-off. It does not have a label but was owned by Celia and came directly from her collection. Excellent condition with a tiny note below to review

Unlined and closes at the front with a hidden set painted metal zipper under the waist seam. Unlabelled. I see some stitch marks where it appears some seams were let out to gain length through the torso. Is is not cut very long through the torso so make sure to check that measurement

Sleeves: 25.5"
Slightly inset shoulders: 13"
Bust: 17" flat across from side seam to side seam
Slight empire waist: 13.5" flat across from side seam to side seam
Hips: open
Bodice: approx 12" from top of bodice to waist
Leg: 49" from slight empire waist to hem
Inseam: 34"
From neck to inner leg seam: 27"

Modern Sizing Equivalent: XS-SML

Item# DD2882

Reference Photo: Ossie Clark/Celia Birtwell printed black satin jump-suit, circa 1974, from Live Auctioneers Archive.

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 rare example of the work that Ossie Clark and Celia Birtwell were doing together in the very early 1970s. It's an early version of what would go on to become one of Ossie's most famous and recognizable designs with that signature plunging squared off neckline. Various versions of these in solid colors are held several museums. I have only seen a couple of these and this one is entirely original.

It is said that the original design of these front plunging dresses were loosely based on the designs of a graduation gown. If that is the case Ossie somehow managed to take that rather conservative feeling piece of clothing and work in the flow and drape that he was known for. His pieces always have a touch of an overt sexuality that became one of his trademarks and here we see that in the ultra low front plunge. This one also has a touch more shape through the waist then we see on the longer maxi versions with that same neckline. On this dress, the plunge dips into a deep squared off shape that is cut to just above the seam at the waist. The waist is banded all the way around with attached ties on both sides. These wrap around and ties to cinch in the waist and it also keeps the plunge from moving. The skirt flows out from there with lots of fabric in it that gives it tons of movement when you move. The sleeves are slim cut and have a row of silk covered buttons at each wrist. The fabric itself is a silk crepe with a deep navy base. Onto this is that spectacular fan print by Celia Birtwell in blue, green, yellow and red. This label is from the couture Ossie Clark line and it also has the Jeeves Dry Cleaning, Quorum recommended, tag. The midi length makes it extra versatile and it is a dress that you will wear over and over, easily able to go from day to night. Excellent condition with a minor note below

Unlined and slips over the head to wear with attached ties at the waist and a side set zipper. Each cuff has three fabric covered buttons at the wrist. There is a small faint mark at the front. Please see the photo after the label shot. Tagged an vintage UK 10. The flowing silhouette, waist tie and deep decolletage suit a variety of figures and sizes.

Sleeves: 22.5" but come up when cuffs are buttoned
Shoulders: 15"
Bust: to 20" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam and can be cinched in more by the attached tie
Hips: open
Bodice: 15" from neck to waist
Plunge: 13" from neck to bottom
Skirt: 34" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3467

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 Emilio Pucci clutch bag is gorgeous and is quite large. It is covered in his signature print that has been done in shades of blue and purple that make the exterior of this bag instantly recognizable as being Emilio Pucci. The fabric is his classic velvet and this gives the bag an added texture and makes it wonderful to carry in the hand. It is really two bags in one. There is an attached heavy gold chain that can be tucked in for it to be a true clutch or used to be able to carry it as a shoulder bag. I love the way that strap folds around the bag to close at the front and the simplicity of the gold bar that holds it in place. Its sleek and simple lines still feel modern and fresh. Excellent condition

Fully lined in a black silk satin and closes with the slip buckle clasp at the front. The handle is attached and hidden under the top flap. Two interior open pockets and a slip pocket inside. Light marks in the velvet inside consistent with normal aging

11.5" W x 7" H x 1.75" D - the handle adds 18" to the height

Item# B149

This garment is in clean, as found condition. Thoroughly checked over before shipping, it will be ready to wear upon arrival.

George Halley started at Charles James who said of the young designer that he 'was a genius at draping'. By the time Halley opened his own atelier in 1966 he was well on his way to fame. He won the Coty Award in 1968 and his work is on par with couture. He is one of my personal favorite designers. In 2015 I included him in my list of: The 10 Designers to Add to Your Vintage Collection' for Harper's Bazaar, saying; 'If you want old school glamour and to feel like Hollywood royalty, look to this under-the-radar label outside of vintage circles... A Coty Award winner in 1968, Halley was one of the great American Couturiers and his work always feels grand and elegant. Think polished silk and fused velvet's and embellishments that have a touch of the Grand Old South to them. Silhouettes to look for are his sweeping ball gowns and hostess gowns. Rich fabrics and rich colors are used with a master's hand. Feathers, crystals, hand painted fabrics and fine workmanship are all things to expect from a George Halley gown. Slipping one on instantly makes a girl feel special and important. These are the showpieces and while you should expect to pay for the quality and beauty of what you get they are absolute jewels'. The best of his work are the pieces that show his love for Old Hollywood glamour combined with his love for over-the-top opulence. Women's Wear Daily called him 'a designer in a lovely world of his own'.

This dress is very pretty in person and the camera does not capture the depth created by that the gold thread woven into the fabric. A George Halley design always starts with his the fabric that he has chosen. For this one he has used a stunning silk brocade that uses real metal thread in a gold tone that is densely woven through the silk. The color is a soft pastel teal blue green through the body and then the collar, waist and down the sides of the skirt are highlighted with a panel of the same type of fabric in a soft dusty pink. The bodice is cut to be more fitted and has a high neckline and narrows down into the cinched on waist. Each sleeve is long with a wide cuff on that pink fabric. The skirt falls to the floor and there is a surprising amount of volume in it. It widens out gradually as it falls from the waist and is set into the waist with a series of soft folds. This is an attached band of matching fabric in the pink that wraps and hooks to close around the waist. The hidden details are exquisite with each snap covered in silk and set into place by hand. It is made to couture standards. In person the gold has a bit more of an impact and catches the light when you move.  This is a remarkable dress that would be impossible to replicate in our modern work. This is almost certainly a one-off and a wonderful find. Excellent condition with a small note to review below.

Fully lined in a hand set turquoise blue silk. It closes with a hand set back zipper, The waist sash and hooks to close. Each sleeve has hidden, hand covered silk snaps. There are some breaks along the edge of the hem, please see photo after the label photo. There is also minor fraying to the edge of the collar . Neither of these notes detract and the gown is extraordinary and very beautiful.

Sleeves: 14"
Shoulders: 24"
Bust: 18" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 14.5" from top of bodice to waist
Skirt: 43" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3430

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 and rare Donald Brooks Boutique set is an early example of the pieces he was doing for his main couture line. He launched his self-named label in 1964 and only designed for a very short time, closing his business in 1973. He also designed costumes and stage wear and that love of exuberance and high glamour was also seen in his own label and in pieces like this.

This set is incredible and is such a glamorous and distinctive design. The pants have an unusual harem cut to them and this will give them a slightly cropped feel to them depending on your height. Each leg ends in an elastic and this allows the pant leg to pouf over the inner elastic and gives it that wonderful harem feel. They are slim cut through the hips and the waist is set higher. Over this is the long tunic dress that is cut to skim over the bust. The waist is cinched in with a seam and there is the matching, original tie belt that allows you to add even more shape if needed. Below that the skirt falls past the knees so that when worn together the pants just peak out under. The longer length of the top gives you the extra versatility to wear it as a dress on its own and of course you can mix the pants up with other pieces from your wardrobe. I love the edging of big gold pailettes that dangle from the edges with little looped seed beads. These go all the way around each cuff, the neckline, and the  hem of the skirt. When you move they will move as well and create a fabulous added feel to the set. The fabric is a beautiful printed silk chiffon over an inner lining of silk and there are big gold dots created by gold metallic thread. The combination of the bright turquoise, the print and those metallic dots is killer. Excellent condition with a small note below

Both the top and skirt are lined in a bright matching turquoise silk. The tunic closes with a metal and nylon zipper at the back and hook & eye at the neck. Each cuff snaps to close. The pants zip and hook to close and have elastic at each hem. Note that there are a couple of the gold pailettes missing on each cuff. I have photoed them for you to review. One pant leg seems to fall slightly differently then the other I would have it adjusted to where they sit perfectly on you. Note that the back does close all the way - it was just small on my dress form

Tunic/dress
Sleeves: 27" with the pailettes adding another 2"
Shoulders: 15'
Bust: 19" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: to 25" flat across from side seam to side seam
Bodice: 14.5" from shoulder to hem
Skirt: 35" from waist to hem including the pailettes

Pants
Waist: 13" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: approx 42" from waist to hem
Inseam: approx 30"

Modern Sizing Equivalent: XS-SML

Item# DD3427

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

Bill Blass became the head designer at Maurice Rentner in 1959 and soon after that his name started to appear on the labels. In 1970 he bought out the Maurice Rentner label and re-launched it under his own name. These Bill Blass for Maurice Rentner pieces, are some of his earliest and you will find many of them, like the twin of this coat, in museum collections throughout the world. Blass was arguably one of the most famous of all the American designers. His forte was the ability to mix simple styles with luxurious materials and his evening wear in particular seem to have a way of flattering the wearer even at their most extravagant. This piece has the additional bonus of being able to be worn as either a coat or a dress

This early Bill Blass coat is particularly gorgeous with its metallic gold and deep blue silk brocade fabric. The base of the coat is a deep blue silk. Onto this, in horizontal rows that run over the entire coat, is an incredible and intricate design that has been created out of gold lame and gold thread. The gold pops off the blue base and has a lovely way of catching the light. The coat has a bit of a military feel to it and I love how the pattern is laid out to highlight the high collar and cuffs. Flap pockets are placed on the front of the coat. One on each hip and then two more on each breast. They are perfectly set tot follow the pattern and each has a large bead covered dome button to secure its flap closure. The same big bead covered buttons run down the front giving the coat a neat and polished feel. The shoulders are structured but are not padded. There is a subtle fabric epaulette across the top of each shoulder. The sleeves are long and he took the time to make sure that the fabric lines up with the body of the coat. The fairly simple design of the coat allows that beautiful fabric to take center stage. An interesting thing about this one, it closes all the way to the bottom hem so could be worn as a dress as well. Excellent condition

Fully lined in a blue silk and closes with silk covered snaps hidden behind each hand beaded dome button down the front. All four pockets are functional. Hand finished throughout. It appears to have been worn very little if at all. 

Sleeves: 23"
Shoulders: 15"
Bust: 19" flat across from side seam to side seam
Waist: 18.5" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 37" from neck to hem with 4" turned over under the hem

Modern Sizing Equivalent: SML-MED

Item# C542

Reference Photo: Samantha Jones in Bill Blass, photographed by Richard Avedon, Vogue October 1968.

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 Valentino set is wonderful and even better once it is on an actual body. All four of the original pieces are present which is rare. This is early Valentino Boutique when they were still hand writing out the fabrics on the tag. 

All of the pieces of the set are made out of the same fluid silk chiffon crepe that has a deep blue base with a Italian Roma tomato print. The pieces are all original. There is a cropped halter top, a long full maxi skirt, a sash and a huge shawl. The top is cut with a high neckline and a ruffled collar. The front is set on an angle that curves up towards the neck and leaves a hint of collar bone showing. It is slightly cropped in length and ends up sitting just at the waist with a ruffle detail that picks up the detail at the neck. This leaves the entire top portion of the back bare. This gorgeous little top goes with the long maxi length skirt that is incredibly full. It widens out to almost a full circle skirt when laid out flat with yards and yards of fabric there. A double ruffle circles the bottom hem and ties in with the ruffles on the halter top. When the top and skirt are worn together it gives the effect of a dress except for that sexy peek of skin at the waist. You can wrap the long sash around the waist or use as a head scarf. The shawl can be wrapped and styled around you any way you wish. The shawl is also finished with a ruffle around all its edges to tie everything together perfectly. The set is gorgeous and far better on an actual body them my dress form. This is Valentino at his best during this time period. Excellent condition

The skirt and halter top are fully lined in a black silk chiffon and the sash and shawl are unlined. The halter closes with a painted metal at the back and the skirt also zips to close at the waist. Hand finished throughout. Tagged a vintage Valentino 6

Neck: 13.5" from end to end
Bust: 17" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Length: approx 17"

Skirt
Waist: 12.5" flat across from side seam to side seam
Hips: open
Length: 45" from waist to hem

Sash: 16" x 72"
Shawl: 39" x 116"

Modern Sizing Equivalent: XS-SML

Item# DD3078

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

Yves Saint Laurent only created six Haute Couture collections for the House of Dior which makes the few garments found from those collections very special. The Fall 1958 season was his second collection for the house and this collection was presented to Princess Margaret and guests at Blenheim Palace. This coat is  from that season and is exceptionally well documented. It was the piece from the show that was used in the ad campaign that season and it also appears in the book 'Dior: Yves Saint Laurent 1958-1960' one of a series of books celebrating the houses 70th anniversary. The design of the coat builds on the Trapeze line of his first collection for Dior. In the book it is noted as being a ‘Courbe line’ or curved line design. It is extraordinarily beautiful and a true piece of fashion history.

The coat is made from a navy blue silk satin and is cut with the volume that Yves brought to the collection that season. This would have be considered to have been a ‘Petite Theatre’, or more formal evening coat, during this time period. A neat rounded collar wraps in a curve around the neck and closes just off to the side to sit perfectly above the row of buttons that run down that side. Those buttons are one half of the double row of large silk covered buttons that finish the front of the coat. Under each is a perfectly made button hole and all the work is done by hand. Vertical seams run down each side of the buttons and are gracefully set on a slight curve. Pockets are hidden along their curve so that their lines seem unbroken. The back has more volume then the front and this fullness is created by an inverted pleat that opens from just under the back collar and extends down to the hem, opening as it goes. From the side, this treatment almost gives it a caped back feel. The silk used is of the highest possible quality and there is an almost sensual sensation when wearing the coat. It appears to have bee worn very little and is in outstanding condition. The original, numbered Haute Couture label is present and the coat is made entirely by hand to the standards demanded of Haute Couture. This is an exquisite example of Yves work during his early years at Dior and an outstanding piece of Haute Couture from one of the most important houses of our modern era. Excellent condition

Fully lined in hand set blue silk. It buttons to close at the front with silk covered buttons and has two hooks inside to secure in place. Hand done, proper button holes. Pockets are hidden at each hip along the seams. The coat looks to have been worn very little if it all. The coat is meant to fit slightly oversized so should fit a variety of sizes. It's Haute Couture tag is present, numbered and the coat is of course made to Haute Couture standards

Sleeves: 16"
Shoulders: 16"
Bust: open
Waist: open
Hips: open
Length: 38.5" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# C434

Reference Photos: (1) Christian Dior ad, 1958.  /  (2-3) "Dior: Yves Saint Laurent 1958-1960", pages 108-109, published by Assoulin.  /  (4-6) Cherie, Owner of Shrimpton Couture, by Erin Leydon.

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

Emilio Pucci is one of my favorite designers and every single dress is a work of art in its own right. His colors and prints are mixed with a masterful hand and when you get a good piece of Pucci, it is a piece that you can wear for a lifetime. This one is quintessentially Pucci and is done in one of his beautiful blue color palettes. The dress is made out of his signature lightweight silk jersey, a fabric that he preferred because of the way it moved and took color. It is screened with one of his custom prints that depicts a lattice pattern that runs over the entire dress and then has leaves and vines twining around and through that lattice. The pattern runs over the long sleeves and over the bodice that skims over the bust with a scooped neckline. The neckline and cuffs are defined with a border piece of the same pattern that only has the leaves and vines. There is a detailing seam that runs just under the bust and then the waist and skirt flows from there to the floor. I love the wide band of print that runs up the back of the dress and circles the hem as well. The skirt itself is surprisingly full through the lower portion. When you are standing it falls in perfectly little rounded drapes but when you move you really get a sense of the fullness. The entire dress weighs ounces and is just wonderful to see. Excellent condition.

Unlined and closes with a back hidden, painted metal zipper. The fabric is a silk jersey and does have some stretch. Note that the color is more intense in person - better then how it photoed. Hand finished. Tagged a vintage Pucci 8

Sleeves: approx 23"
Shoulders: approx 15"
Bust: 14-17.5" flat across from side seam to side seam
Waist: 12-14.5" flat across from side seam to side seam
Hips: 18-20" flat across from side seam to side seam
Length: 58" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# DD3382

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

From 2004 until 2012, Stefano Pilati was the head designer of Yves Saint Laurent for 8 years. He did two more collections after the Resort 2012 one. Vogue said of this collection that Pilati had succumbed to the call of the sea for resiort sending "out a cruise collection that was as croisière as it gets, complete with lanyard necklaces, rope-print dresses, and sailor jackets and pants. Afterward, the designer pointed out that Yves Saint Laurent did a nautical collection of his own around 1982. "He showed it with sheer stockings and pumps, and I loved the 'why not?' factor," Pilati said" This dress was Look 23 of the collection and one of the ones that had a definitive nod to the original YSL archives in its lines.

The dress is ain a pretty crepe fabric that has a blue floral print covering it. It has the feel of Yves infamous 'Scandal collection of 1971 in its cut that has a string nod to the forties. The sleeves are capped and gathered along a bad that runs down their tops before buttoning in a cuff detail. The front plunges quite low and ties in two places along that plunge. There is actually a double panel of fabric that extends out from each side to make those ties which is unusual and gives a bit thicker knot for coverage. The bust and waist just skim over the body with no seaming present until you hit the low ruffle of the skirt. This low set skirt has volume so that when you move it moves and gives the dress its flirty feel. Excellent condition.

Unlined and closes with a hidden set side zipper. Ties at the front and each sleeve has a button to close. Tagged a YSL FR40 but cut generously for that sizing.

Inset shoulders: 14"
Bust: 18" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 38" from neck to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3313

Reference Photos: (1) Resort 2012 Yves Saint Laurent Runway Collection, Look 23, Model Janice Alida.  /  (2) Cherie, Owner of Shrimpton Couture. (Cherie is also wearing a Recent Prada Jacket)

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 darling little dress is from the days when founder Consuelo Castiglioni was the head of the company still and acting Creative Director. The brand launched in 1994 and quickly became known for it innovative prints and the way she mixed and matched colors. This is classic Marni from this time period. The print was featured on the runway in two looks and then for production to the stores they utilized the fabric in this dress as well. It is one of her very easy to wear smock pieces with sleeves that run just past the elbow and a bodice set above a high waist. The collar is neat and pointed and this tops a plunge that runs right to the seam under the bust. There is a bit of a curved yoke at the front and the back as well as a few well placed knife pleats for volume and detail. The dress falls in a loose baby doll, smock feel around and below that. It is very easy to wear and travel with and is a great example of her work during this time period. Plus it has pockets. Excellent condition

Unlined and slips on to wear. Buttons at each cuff and pockets along the side seams. Tagged a 38

Sleeves: 18"
Slightly dropped shoulders: 15.5"
Bust: 17" flat across from side seam to side seam
Waist: 17.5" flat across from side seam to side seam
Hips: open
Length: 35" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD3314

Reference Photos: S/S 2006 Marni Runway. Look 2 (Model: Kim Noora) & Look 4 (Model: Gemma Ward).

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 blue silk Halston dress is a beautiful example of his earlier work. Halston was a master at combining function and ease but without sacrificing glamour. He did this with the very minimum of seaming. His pieces that were bias cut, like this one, seem to almost be shapeless and not very exciting when you see them on the hanger. But, once you slip them on, they drape and settle into place the way they were intended and the transformation is remarkable. There is true genius on their simple cuts and they are addictive. A similar dress in cut was photoed for Vogue in 1974 and that reference photo is included here.

This dress is entirely cut on the bias with that minimal seaming signature of his best work. The color is a beautiful royal blue that is flattering on most skin tones. It is feather light and you are barely conscious of wearing anything once it is on. The cut through the body is extremely loose and easy, running in one long bias cut sheath to the floor. It is very long and I love the slits that run up each side of the dress. The bias cut gives the dress the slightest of shape as it drapes around your body. The neckline is cut into a V for some skin to show. The neckline, the sleeve edges and those slits on the skirt are all hand rolled and stitched. The work to get this as perfect as it is would have been astounding - there is no trickier fabric to hand stitch then this. Each sleeve is soft and full, the dress laid out flat is a T-shape and the sleeves when laid out are blocked out. Once on these fall in soft and flattering folds. I am pleased to have found a runway reference photo from the show that same year and also a photo of a similar version that was worn by Lauren Hutton. Excellent condition

The dress is constructed from one single layer of a liquid bias cut silk. It is entirely bias cut and just slips over the head to wear. Hand rolled and finished edges. The easy cut will allow it to fit a full range of sizes.

Sleeves: 18" from dropped shoulder seam
Slightly dropped shoulders: 18"
Bust: to 19-21" flat across from side seam to side seam
Waist: to 21" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Length: 60" from top of bodice to dropped waist
Slits: 20" from hem up

Modern Sizing Equivalent: SML-LRG

Item# DD3271

Reference Photos: (1) Model Naomi Sims for Halston Runway Show, 68th St Salon, December 7, 1971. Photo: James Hamilton.  /  (2) Karen Graham, Halston Silk Caftan, Vogue, November 1971. Photo: Irving Penn.  /  (3-6) 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.

The Hardy Amies label launched in 1946. In the beginning he only produced couture. it was not until 1950 that he added a more ready-to-wear label, but even that was made to extremely high standards. In 1951 Amies was chosen to design some of the wardrobe for Princess Elizabeth’s tour of Canada. That led to Amies appointment as the Royal Dressmaker in 1955 after Elizabeth became the Queen. Hardy was known for his fine, elegant lines and very high quality fabric choices. A signature touch of Amies is a slightly dropped waistline as he thought it was more flattering and elegant and added length to the torso.

This beautiful full length maxi dress is made of a silk organza that holds color exceptionally well and it is very light but still has a touch of structure to it. It is the perfect fabric choice to create volume without bulk or heaviness. The blue is a lovely and unusual shade, and in person it is even better then how it photoed here. Screened onto this is an pretty print done in rusts and taupe shades. The dress is cut with simple lines. The simple bodice has tiny straps that curve up and around each shoulder. The waist nips in with a seam and under that the skirt billows out with light and airy fullness. The skirt is made of yards and yards of silk that drapes perfectly into place as it flows to the ground. The top layer floats over an inner lining and all the volume you see is created by the way it is set into the waist, the fabric choice and the sheer yardage used to construct it. There is no additional crinolines used on the photos. I love the matching cape that simply ties into place at the neck and floats over the shoulders. It is cut to end just about the waist seam at the back and sits just slightly shorter then that at the front. The edge is finished with a full six inch ruffle that perfectly picks up the skirt's shape and volume. Excellent condition with one note to review below

The dress is fully lined in a blue silk and closes with a back painted metal zipper. There is a light spot that follows the front seam of the skirt - it really gets lost in the pattern and when on is not noticeable - you do see it when its flat and look for it. Please review the photo after the label shot. The cape ties at the neck and is unlined.

Bust: 17.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: " flat across from side seam to side seam
Bodice: 15" from top of bodice to waist
Skirt: 45" from waist to hem
Cape: 18" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD1586

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

If you have been looking for a statement dress for the season look no further then this incredible Emanuel Ungaro dress that is absolutely amazing. The color is wonderful. It is a metallic feeling blue on a silk taffeta. This fabric gives it a touch of a shimmer and depth as it catches the light. The fabric is quite light in weight so despite the elaborate construction of the dress is not heavy to wear, but it does hold the intended shape fabulously. The bodice is cut with a strapless, modified sweetheart neckline and hugs the body. It is elaborately gathered and fitted around the bust with hand placed and gathered folds. This was an Ungaro signature and really made his pieces flattering once on. An angled sash wraps and hooks into place to detail the waist even more. Under that the skirt explodes in a pouf of shape and volume. Elaborate gathers mold the shape so the skirt feel asymmetrical on one side and on the other there is a huge half bow that gives even more volume to that hip. The opening of the skirt at the very bottom is deliberately kept to be as minimal as possible, forcing you to move in a way that highlights the shape even more. It is incredible. Excellent condition.

Fully lined in a black silk and closes with a side zipper from the waist up and silk covered snaps under the wait. The bodice is boned. Tagged a vintage Ungaro 10 but cut small. It appears to have never been worn, or worn very little.

Bust: 16" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: open
Bodice: 10.5" from top of bodice to waist
Skirt: 24" from waist to hem but can be worn up as high as you wish because of the way the bottom opening is cut.
Skirt opening at the bottom hem 32" in total around

Modern Sizing Equivalent: XS-SML

Item# DD3256

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

For his second ever collection for the Saint Laurent label, Anthony Vaccarello stayed true to himself. Vogue's Mark Holgate said of the collection in his review: "Yves Saint Laurent is of course one of those houses where everyone has an opinion and no two are alike. It’d be nigh impossible to ever reach a consensus on what it should, could, needs to be; everyone is a yay-sayer, or a naysayer, just depends on who you ask. Vaccarello, for his part, realized that his way forward was to be referential, respectful even, just don’t ever get trapped into being reverential. As with last season he was, he said, inspired by one particular dress, an haute couture number with huge sleeves which dates from the early ’80s. “I always relate YSL to parties, to evening,” Vaccarello said backstage. “I couldn’t do a show without those golden years, but I wanted to take that further.” This dress is the twin of the one presented as Look 61 on the runway.

This dress is extraordinary and feels extremely futuristic. The cut is bold and sexy and the color is jaw dropping. The dress is made from a high gloss patent coated leather that molds the shape over you rather then you creating the shape as you would in a more 'normal' fabric. It fits over the body with a startling sculptural silhouette. The shoulders are extreme in their shaping and the top of each shoulder is constructed almost on a completely flat plane. Extra long sleeves fall from there and each is set on a slight curve to mimic the shape of the arm. It zippers up the front and has the ability to completely unzip so that you could potentially wear it as a layered piece. It skims over the body to a short mini length. There is the suggestion of shaping through the waist created by the gathering in towards the center zipper. Along that center line are two rows of ruffles set on either side of the zipper. These are constructed from the same patent as the rest of the dress and feel almost alien in the way they run down the front. It is a daring design made out of an incredible and bold use of leather. Never worn and still has part of the original tag still attached. Excellent condition

Fully lined in a black silk and closes with a front set zipper. Tagged a FR40. Part of the original tag is still present and the dress has never been worn. It has a skinny cut and the blue is even better in person as it is richer and has more depth. The color is more close to the runway photo in real life

Shoulders: exaggerated and are 17" across
Sleeves: cut extra long at 27"
Bust: 17" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 16" flat across from side seam to side seam
Length: 32" from top of shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD3255

Reference Photo: Look 61 of the F/W 2017 Saint Laurent Runway Collection. Model: Adut Akech.

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