This 1980s Yves Saint Laurent jumpsuit is fantastic. It has that cool easy feel that pieces from that decade had. This particular jumpsuit had such great lines that I could not resist picking it up. There was just something so young and fresh about this jumpsuit. It is done a deep royal blue flat pile cotton velvet that to hold its shape once it's on the body. Its lines make you think that it borrows from the 'flight suit' in feel. The fabric is just heavy enough to hold the shape but it's just really easy and comfortable to wear. The bodice is cut to be loose and easy. It skims over you with some volume to the seamed waist. Even though the waist does have a seam it is also cut more on the loose and easy side. If you wanted to add shape you could easily add a wide belt and really cinch it in. The sleeves are long and full above the cuffs. Each is meant to button at the cuffs however it is missing the buttons. That's part of the reason it's priced what it is priced at. A super easy fix and you can customize them to what you want this way. You can wear the sleeves with the cuffs closed, you can push them up do you have them sit above the elbow or roll them for a jauntier look. The bodice zips to close down the front and this lets you make the plunge as low as you want. The pants start out fuller around the hips and stay more on the wider side as they reach the ankle. You could roll these to get a totally different feel. I love the slouchy slanted pockets on each hip. Two more sit on each side of the bodice. It is a super fun piece and looks like it was never worn or worn very little. Excellent condition with one note below.

The bodice is fully lined in a blue silk and the rest of the jumpsuit is unlined. It closed with zipper at the front. Meant to button at each cuff but the buttons are missing. Tagged a size 40. Meant to be fuller on and more oversized. 

Sleeves: 23.4"
Dropped shoulders: 18"
Bust: to 23" flat across from side seam to side seam
Waist: to 16" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 56.5" from neck to hem
From neck to inner seam on pants: 31.5"
Inseam: 28.5"

Modern Sizing Equivalent: SML-MED

Item# DD4163

Reference Photo: Fall 1985 Yves Saint Laurent Runway 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.

This is a remarkable example of Courreges and the work that Andre was doing during this time period. I know we often associate his work with very mod and short pieces but he also did these fantastic pant sets and he did them so very well. I am sometimes more excited to find these more unusual pieces from him then the more classic ones associated with his name. I have had versions of these in the past and I just love whenever a set comes into the shop. This one is a little extra special because it is a numbered set.

Andre Courreges pushed the envelope when it came to design and even amongst the many pieces of Courreges I have seen this is a stand out. The design and use of zippers and seaming to create interest on this set is fantastic. Both pieces are made from a deep blue cotton velvet with a flat pile. This helps the pieces to hold their shape while still feeling great on. The color is stunning. It is a deep dark blue that is super flattering on most skin tones. The pants are fantastic. They have a smooth flat front with a zipper closure. They skim over the hips and then the legs are wide and full. They are fabulously made and fully lined. I love the jacket. It has that perfect seventies vibe to it with his signature chunky silver zipper and silver toned metal buttons. A tie runs through the waist so you can cinch it in to add shape or leave it loose and wear it more boxy. The way it closes is so unusual. The zipper is set at the top part of the bust and then it snaps to close under that to the hem. Having the two pieces gives you have that extra versatility of being able to break the set up and wear them separately or together. It appears to have never been worn or worn very little. Excellent condition.

Both pieces are fully lined in a blue silk. The pants close with a front zipper and snap & hooks at the waist. The jacket zipper and snaps to close with a drawstring waist. Both pieces are tagged a Courreges 00 and are numbered

Jacket
Sleeves: 24"
Shoulders: 14.5"
Bust: 18" flat across from side seam to side seam
Waist: to 17" flat across from side seam to side seam
Hips: 21" flat across from side seam to side seam
Length: 26.5" from neck to hem

Pant
Waist: 13" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 41.4" from waist to hem with 2.5" turned under
Inseam: 31"

Modern Sizing Equivalent: SML-MED

Item# DD4165

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

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

This is such a gorgeous dress. It's simplicity combined with that almost shocking open side and its elegant deep blue colour that is so good on so many skin tones, add up to an incredible piece. It is in its original supermodel long length and made of a beautiful silk crepe that gives it its sleek sculpted feel. The dress is very sexy and shows off some skin but still feels very elegant and refined. The fabric has just a touch of a bias cut to it through the body so its very comfortable to wear. It is really a dress meant to be on an actual body and not a mere dress form. As good as it looks here it only really comes to life once on. I love the way that it curves up and over your shoulders and scoops at the neckline. It skims over the bust and then starts to widen out and skim over the waist and hips. The skirt falls to the floor under that and it is all cut on the bias. By the time it reaches the hem it has widened out into that beautiful sweeping line that you see. A high slit up one leg gives it additional movement. The bias cut and that slit make the hem of the skirt move and float around you at your slightest movement. The open side is on the same side as the slit. The silk of the dress has been gathered up and around that fantastic cut out on the one side. The opening of the cut out is piped in the same fabric for a bordered and finished feel. Then more of the piping is used to created a laced web feel that sits inside the circle. This gives you a touch of coverage and makes the skin that shows through feel even sexier. Extending out from that opening are long ties that trail down to the floor. These give the illusion of be able to tighten and adjust the lace. It is absolutely gorgeous. Excellent condition.

Unlined and  closes with a side hidden set zipper. It appears to have been worn very little if at all. Tagged a modern Valentino 6. The fabric is bias cut so does have some movement.

Waist: 12-14" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Length: 67" from top of shoulder to hem
Slit: 31" from hem up

Modern Sizing Equivalent: XS-MED

Item# DD4164

Reference Photos/Video: Spring 2004 Valentino, Look 76.

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 suit that has all three original pieces and is the twin of the piece that walked the runway for the Fall 2000 show. There is nothing more classic then an iconic Chanel suit and there are incredibly beautiful and chic once on. 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 that this has all three pieces - the jacket, skirt and the inner silk chiffon tank. It makes it so versatile since you can mix and match all of pieces and wear them in so many different ways. The inner tank is made of a deep blue silk chiffon and then the suit is constructed from one of Chanel signature boucle fabrics. From a distance it presents as a black with a touch of a secondary colour running through it to create a pattern but as you get closer you see that there is actually a riot of colours woven through the fabric. The colours in there are a bright and vivid turquoise, pink, green and a peach mixed with navy and black and it is absolutely beautiful fabric. The jacket is that classic and perfect Chanel cut with every seam meticulously executed. The sleeves are long and the 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 pockets hidden along the seams at the front. It has a small rounded and neat collar and it hooks to close down the front. What really makes it exceptional is that ruffled netting that goes from the neck right to the hem on both sides of the front. The ruffle gradually narrows down as it reaches the bottom hem. This adds an unexpected touch of detail and softness to the jacket. It also creates movement as it slightly moves as you move. The skirt is precisely and simply cut with that slight flare as it reaches the hem that the best Chanel skirts have. Both the jacket and skirt are lined in an extremely high-quality black silk. There is a signature Chanel chain set around the hem of the jacket. This is a classic Chanel suit 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. 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 dress and the jacket are fully lined in a black silk. The tank is made of a single layer of a deep blue silk chiffon. The tank slips over the head to wear with no closures. The skirt closes with a side zipper and hook and eye at the waist. The jacket has hidden set hook and eye down the front. The jacket has the appropriate Haute Couture label and numbered tape present. All three pieces are completely made by hand.

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: 23.5"
Shoulders: 15"
Bust: 19.5" flat across from side seam to side seam
Waist: 19" flat across from side seam to side seam
Hips: 22" flat across from side seam to side seam
Length: 27" from neck to hem

Tank
Bust: to 17.5" flat across from side seam to side seam
Waist: 16.5" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Length: 22" from shoulder to hem

Skirt
Waist: 15" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 23" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4146

Reference Photos: Fall 2000 Chanel Couture Runway, Look 18. Model: Roos van Bosstraeten.

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.

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 what was thought of as cutting edge fabrics that were available during this time period. This dress is is incredible and is stunning in person. The colour especially is even better in person then what the photos convey.

This dress is just gorgeous. At this time Lanvin was focused on balancing the desires of their more traditional long time clients with trying to appeal to their younger jet set client with easy-to-wear pieces. This stunning dress fits that bill perfectly and walks the line between the two. It is made out of a silk brocade done in two brilliant tones of blue. I love the swirling, slightly 3D feeling pattern that runs over the entire dress. The patterned parts have a slight metallic finish to them and are edged in a black to make the pattern pop. They catch the light wonderfully and give the dress a touch of high glamour. It is cut to skim over the bust and the neckline is squared off at the base. There is a modesty panel sewn in the plunge that brings the neckline up. You could easily un-tack and remove it if you wanted a true plunging feel to the front. A wide velvet sash wraps around the high set waist and ends in a large flat bow at the front. It is caught up with a curving rhinestone encrusted jewel piece. From there the dress skims down over the waist and hips. The skirt flares out beautifully as it reaches the hem. There are even pockets hidden along the front vertical seams. I love it. Excellent condition.

Fully lined in a black muslin and closes at the back with a zipper. The modesty panel is sewn in place but could easily be removed by taking out a few stitches. Some rhinestones are missing from the detailing at the front but it is not noticeable. Please see the photo after the label shot

Bust: 18.5" flat across from side seam to side seam
Waist at velvet sash: 16" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Bodice: 11" from neck to top of velvet sash at waist
Skirt: 45" from top of velvet sash at the waist to hem with 3" turned under

Modern Sizing Equivalent: SML-MED

Item# DD4138

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.

This exceptional dress is by Marc Bohan for Christian Dior and it is a wonderful example of his work during this time period. This dates to the early - mid 1970s when he was doing these wonderful metallic detailed dresses. It is a very easy and comfortable dress to wear but has such a beautiful glamour to it. I feel that it perfectly represents this time period. His work was integral to the label's development over the decades that he headed the atelier and this is a stunning example of his vision. Beyond that it is just an extraordinarily beautiful dress.

This dress is incredible. It is super light and very easy to wear. The outer layer of it is a fine silk chiffon that is shot through with a gold and silver thread pattern that covers the entire dress. The metallic thread is woven through the silk and it catches the light from every angle as you move. The neckline is softly scooped and the dress has no sleeves. It is cut in a very twenties silhouette with a long bodice and dropped waist seam. It is meant to skim over you. The skirt billows out from under that with two wide layered tiers of chiffon. At the back it buttons at the neck and then has a keyhole for a glimpse of skin to show. Below that is a row of silk covered buttons. You can wear the dress in this very loose and easy way or you can use its matching silk tie belt to cinch it in and add shape through the waist. The dress actually comes with two separate ties. One very skinny extra long sash that you can use around the waist and then there is also a very long wider cut scarf/sash that you can wrap around the neck. You can also wrap the wider one around the waist for a softer look and to draw in the shape more as a wider belt. I've shown it in the photos a couple of different ways for you. The wider one could probably even be worn it as a turban. I love that these extra pieces give you a lot of versatility on how you can wear the dress. Once on the body the skirt in particular has incredible movement. Each layer in the skirt is made of several yards of fabric and there's another layer of a blue silk chiffon underneath the bottom layer. The fabric is so light that it will move with your slightest movement. It is very easy to wear but packs a tremendous amount of style with the two tone metallic thread and that spectacular fabric and cut. It is made to demi-couture standards. Excellent overall condition with one note below.

The dress is line with a blue silk chiffon. It buttons at the back as described above. It comes with two sashes as described above. Hand finishes throughout. The bias cut and easy shape should allow it to fit a range of sizes. There is a bit of a fade mark that runs down one side that is very light. Please see the photos after the label shot. Once on you would never notice it.

Waist: 18" flat across from side seam to side seam
Seam at dropped seam: 20" flat across from side seam to side seam
Bodice: 25" from top of shoulder to dropped seam at top of skirts
Skirt: 32" from dropped seam at top of skirts to longest point of hem
Total length: 57" from shoulder to longest point of hem

Skinny sash: 156" x 1.5"
Wider sash: 124" x 19"

Modern Sizing Equivalent: SML-MED

Item# DD4140

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

This is a beautiful dress from the Christian Dior label that showcases the elegance the best of the brands work has always displayed mixed with the youthful spirit that John added to the house. John Galliano went from Givenchy to Dior in October of 1996 and stayed there until he was dismissed in February of 2011. During John Galliano's years at the house of Christian Dior he arguably produced some of the most amazing dresses in the house's history. His work is always beautifully cut and this one is no exception. It has that minimalist spirit of the nineties and early 2000s and it is stunning. This was a piece that was produced in limited quantities for retail. The main line runway pieces that season where based on his own couture work and then the actual production pieces included a group of more refined and elegant pieces like this one. It is always interesting to see how John translated his over the top runway collections into elegant, wearable and yet still glamorous pieces.

When I looked through the collection for that season I think they made a mistake by not including this one in the show. It is fantastic. The dress combines a sleek finished wool that lets it hold the shape that you see with a knit for the upper shoulders and sleeves. Where the two meet across the top of the bodice gives the illusion that you are wearing a strapless dress with a turtleneck sweater tucked underneath. But because it is all one piece you don’t get the bulk that doing that would give you. Instead it sims perfectly over the body once on. The upper portion of the dress is in a sleek turtleneck and the knit has a ribbon through it for texture. It’s fitted across the upper bodice and the sleeves are long. I love the chunky silver zipper detail that runs across the top if the shoulder and up the side of the turtleneck. Underneath the knit part the dress is sculpted and sleek. It skims over the bust and nips in at the waist. The skirt flares out on a curve to end just above the knee depending on your height. Pockets are hidden on each side of the hips. The colour is the deepest possible blue. I had to look at it in a few different lights to decide whether it was blue or a black. Its very chic and minimalist. It appears to have been worn very little if at all. Excellent condition

Fully lined under the wool part in a matching blue silk and the knit parts are unlined. It zips to close with a hidden set zipper at the back and the zipper at the neck is functional. Tagged a US6 GB10 FR38 IT42.

Sleeves: 23"
Shoulders: 13.5-15"
Bust: 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 35" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4130

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

In 1993 Oscar de la Renta took over as Creative Director at Balmain where he designed the Haute Couture collections until 2002. The house had been floundering at that point and he had a huge impact on the reviving the sales of the couture pieces, mainly by catering to private clients, much like Balmain had originally. It is extraordinary to think that Oscar never produced a Haute Couture line under his own label and these few short years at Balmain gives us a chance to see just how talented he really was at all levels. I was very pleased to be able to fully document this dress with its photo on the runway and we even found one that shows the twin of this dress just behind Oscar for the finale of the show.

Like most Haute Couture, this is a dress that only truly comes to life when it is on an actual body. No matter how good it looks in the photos, the impact it has in real life and how it moves once on is undeniably beautiful. You can see in the runway shots that the dress sits lower on the sides of shoulders then where it sits on the dress form and this simple difference changes the look of it tremendously. The fabric is a fine silk in a pale baby blue that gives it the weight it needs to perfectly hold and to shape you through the bodice. The dress is sleeveless with wide straps that curve up and off the shoulder. It is fitted to be like a corset with built in boning and seaming to shape you. The neckline is scooped at the front and dips into a V at the back. There are attached underskirts to hold the volume of the skirt and if you wanted even more there is room to add a crinoline. The bodice is shaped with long vertical seaming that curves into the dipped waist seam. At the back it closes with a corset detailing and matching coloured ties. The skirt is set along the waist seam in a series of big soft inverted pleats that give you this lovely curve around the top of the hips. Then as they open out the volume of the skirt is achieved to give it the incredible volume that you see. Each layer of the fabric is light but when all the layers, and the sheer volume of fabric that has been used, is combined the overall weight of the dress is substantial and it feels like a couture piece. You can see how stupendous this is one in the runway photos and the massive sweep that the skirt has. This comes to me from one of his the original couture clients. This dress is definitely a dress that could walk a carpet and it would also make an amazing dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. Excellent condition with a minor note below

Fully hand lined in a pale blue silk through the bodice. The skirt has an inner silk lining and then two layer of tulle over that and a partial layer around the inner hips. Hidden boning and corseting through the bodice. It closes with a hidden inner zipper, a half zipper at the exterior waist and then laces to close over that. A waist stay inside that hooks to close and a second hooked stay above that this sits just under the bust. Hand finished through out to Haute Couture standards. Proper couture tag present Couture tape #172438. I see some teeny marks on the grommets which would be a natural part of normal use. One yellowish mark near the seam above the hem. A couple of very faint marks here and there neat the hem. All of which you only see if you lay it out flat and look for them

Bust: 17" flat across from side seam to side seam
Inner corset waist: 13-14" flat across from side seam to side seam
Hips: open
Bodice: 14.5" from top of shoulder to side waist
Skirt: 44" from side waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4136

Reference Photos: Spring 1994 Pierre Balmain 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.

Alexis Mabille graduated from Chambre Syndicale de la Couture Parisienne program in 1997 and then apprenticed for Ungaro and Nina Ricci before landing at Christian Dior. He spent nine years there and then launched his own label in 2005. He started with RTW and then in 2008 was granted guest membership on the official Haute Couture schedule. In 2012 he was granted Haute Couture appelation by the Commission de Classement Couture Création. His label at this time period was called Impasse 13, and under this label he did both a unisex and ready-to-wear collections mixed with new couture pieces. This dress is the twin of the piece that walked the runway for the Fall 2018 Couture collection and it is a stunning example of his work. On the runway it was shown in a pale lavender. I love this stunning soft blue version though. It is just stunning.

This is an absolutely gorgeous dress that is easy to wear and still very flattering. It has an easy to wear caftan feel to it but at the same time the silk moves with you as you move and suggests the body underneath. It is made of a dusty blue silk mix that has enough weight to make it flattering as it skims and drapes over you but that is still light enough that it easily moves. The silk is self backed in a satin finish that makes it feel amazing once on the body. The dress has minimal seaming and is cut to simply fall from that one single shoulder in a cascade of fabric. The other shoulder is left bare and exposed. On the side that is covered the fabric falls over the arm and down to the floor. There is an inset of lace that runs down the top of that arm and then continues to the floor. I love that you get just a peek of bare skin through this inset. Once it starts its descent to the floor he has inserted a panel of a semi-transparent blue chiffon. This allows a glimpse of your leg to show when you walk or sit. It a subtle sexiness that is fabulous. I have included runway footage of the couture version so you can see just how fabulously this one moves. It is just a fantastic dress. Excellent condition with one small note below.

Unlined and slips on to wear with a hidden set zipper under the arm. The easy fit should allows it to work on almost any size. Tagged a 42. In its original uncut supermodel length. There are a couple tiny marks on the back near where it folds in. You see then laying flat but not when on. Please see the photo after the label shot

Bust: to 25" flat across from side seam to side seam
Waist to hips: open
Length: 70" from shoulder to longest point of the hem

Modern Sizing Equivalent: OSFA

Item# DD4117

Reference Photo/Video: Fall 2018 Couture Alexis Mabille Runway, Look 13.

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.

Halston did variations of hos famous one shoulder dresses over the course of several years and they are still among the most collectible of all of his pieces. Nothing says Halston like this classic and when you find one in a silk chiffon and this stunning shade of blue it is a joy to see. Versions of this dress have appeared in several museum exhibits of his work and I have included a photo of a similar one from The Met. These are still one of his best and most impactful designs. This one is from his main label. I have had versions of these in the past and some reside in my own personal collection and this one in its brilliant blue colour is one of the best. It is a very special piece of his work and it is gorgeous. It is not 100% perfect but its beauty outweighs it flaws.

The dress is entirely cut on the bias and utilizes his signature minimal seaming. Halston defined how woman dressed in the 1970s and these one shoulder dresses in particular were tremendously flattering to the body. It is also insanely sexy while still being extremely comfortable to wear. It is feather light and you are barely conscious of wearing anything. The fabric is a fine light silk chiffon that moves and drapes beautifully. The silk has been hand dyed to that brilliant blue color. The camera came close to capturing the colour but in person it is better. The blue is more saturated and the colour has more depth. The blue is one that is flattering on most skin tones and it is a beautiful pop of colour to wear. The inner dress is made of three full layers of bias cut silk and then that top caped layer is attached along the neckline to lie over those. The inner dress is made to drape over the body and the bias cut allows it to move with you as you move. The top layer is cut on a soft curve above the hem on one side and then sweeps upward to cover the shoulder and cascade down all the way to the hem. The bias cut and that caped effect on the one side give it tremendous movement as you move. It is spectacular. This is a rare example of Halston at his very best. Presents as excellent condition and is 100% sound but please review the full condition notes below

Constructed in multiple bias cut layers as described above. It slips on with no closures. Hand finished and the bias cut should allow it to fit a range of sizes. There is fading down the top of the caped side and some marks near the neckline and on that side of the cape. If you wore it the other way around you would not see most of these. Once on these fade more into the fabric that is there. There is one mark on the inner dress under the overlay as well. Please see the photos after the label shot. Priced with this in mind.

Bust: 15-21" flat across from side seam to side seam
Waist: 12-19" flat across from side seam to side seam
Hips: to 25" flat across from side seam to side seam
Length: 63" from top of shoulder to hem

Modern Sizing Equivalent: XS-LRG

Item# DD4116

Reference Photos:  Silk chiffon dress worn by Lily Auchincloss at the French-American fashion show, Palace of Versailles, 1973. Now part of the collection at the Metropolitan Museum of Art. (First image from the book “Halston”.)

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 great little jacket. I had one of these on the shop years ago and was pleased to have another come my way. Moschino pieces always have a bit of quirkiness to them and this one is no exception. It is cut in a traditional motorcycle style of jacket that you normally would see done in a black leather. It closes with a large zipper that is set off-side down the front and I love the little heart embossed zip pull on the zipper. There are three zipped pockets and a little flap pocket all set on the front and they are all functional. Instead of leather is is made from a faux patent that is done in a beautifully brilliant blue color. It is gorgeous. Moschino logo embossed snaps are the perfect finishing detail. You could wear this over just about anything from jeans to a ballgown and get an instant bright pop of colour. The faux patent leather is light in weight and pliable so its super comfortable on. Excellent condition

Fully lined in a black silky rayon and closes with the front zipper. Logo embossed press snaps. Zipper at each cuff.

Sleeves: 23"
Shoulders: 16"
Bust: 18.5" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam|
Bottom hem: 18" flat across from side seam to side seam|
Length: 20.5" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# S976

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

Claude Montana designed for strong woman and his padded shoulders and sculpted silhouettes were one of the hallmarks of the 1980s. By 1989 he was at the height of his career. He was not only designing his own label to much accolades but was asked to design couture for Lanvin of which he did 5 seasons. This is a remarkable little piece from my archives that I refused to give up until we found documentation of and at last we have. I love having these runway shots for you so that you can see just how remarkable this is once on the body.

Montana's relationship with colour is on full display in this gorgeous little jacket. It is made of a sheared fur that is ultra soft and still supple. The fur has been dyed to a beautiful delicate pale baby blue with a hint of turquoise in it. The photos come close to the colour but in person it is better and the turquoise feel of it is a touch stronger. There is also this effect of a slight change of colour depending on how the fur catches the light that gives it a depth that the camera does not quite capture. It is the most clever design. It is cut short to almost bolero style and then there are two straps that extend across the chest and hook on place. Two wide panels extend out on either side below that and you take these, cross them and wrap around to the back where they hook into place. This creates a dramatic collar to frame the face. Adding to the drama are those incredible bell sleeves. Each sleeves comes out directly from the side of the jacket and then flares out. By the time they reach the bottom hem of each sleeve they are a full 30" around. I have included a photo of it open so that you can see the closures underneath and added a couple of other ways you could potentially wrap and style the front panels. It is stunning. Excellent condition with one note below

Fully lined an a turquoise silk and closes with the hooks as described above and shown. One fur hook is missing off of the wider extended panel. The loop is on the other piece but the hook is missing. The fur is very soft and supple. The open cut let it work on my dress form that has a 29" bust and it also fit the one with a 40" around bust and still had a bit of room.

Sleeves: approx 22"
Shoulders: no defined seam
Bust-waist: no defined seam
Length: 14" from neck to hem

Modern Sizing Equivalent: XS-LRG

Item# S975

Reference Photos: Fall 1989 Claude Montana 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.

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

I love these Yves Saint Laurent sequin tops. They are from the Fall 195 collection and we found a runway shot of one variation in the same blue as this one. They can in several length and different sleeve lengths. I have had this exact piece in red in the shop before and I was thrilled to have this gorgeous blue one come into my hands. These are getting harder to find so I grab them whenever I can. They are so versatile. The sequins say evening and the cut says casual so you can really play on that and wear it with a zillion different things. The color of the blue sequins is amazing and every square inch of the piece is finished with them. The neckline is slightly scooped and set wide across the neck which allows for a little bit of skin to show on the top of your shoulders. The shoulders are set to feel slightly slouchy with a touch of padding in them for shape. That easy feel carries through the body of the top. It almost feels like a glam sweatshirt in the way that it sits once on. The sleeves are wide at the top and narrow to the cuff and the body of the tunic dress is cut to skim over the body in an easy relaxed way. The sequins are a brilliant blue colour and in person the color is even better then how it photoed. I love the detailing around the cuff of each sleeve and the bottom hem. It creates the impression of a ribbed sweater but this is all actually done with hand placed tube beads and sequins running in horizontal rows. Excellent condition

Fully lined in a blue silk chiffon and slips on to wear with no closures. Light padding in each shoulder and each cuff closes with a series of hidden set snaps. Hand finishes. A smaller frame could wear it in a more slouchy oversized look.

Sleeves: 22"
Shoulders: 15"
Bust: 19.5" flat across from side seam to side seam
Waist: 19" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 24" from shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3257

Reference Photo: Fall 1985 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.

Please be advised that that there will be a slight delay in shipping this item. It was with a stylist and is currently in transit back to us. It will be shipped as soon as it returns. If you need it by a specific date please add that to the notes section of your order. If it is part of a multi item order we will ship for free separately so the rest of your order is not delayed.

John Anthony is an award-winning American fashion designer best known for simple, elegant clothing with a strong sense of chic. His work veers towards minimalism, with sharp tailoring, striking evening wear being his signature. He is renowned for his cutting and tailoring. From the day that he launched his atelier in 1971 his design philosophy is a fusion of function and purpose. The function is his logical, wearable approach; the purpose, his pared-down ideas. As a designer, he considers it his job to make things easy for the customer. He designs with focus and a narrow palette for both day and night, so items can easily intermingle. He uses natural fabrics and is noted for contradictory daywear fabrics in his evening collections. In the early 70’s he was one of the first designers to promote the idea of easy-to-travel clothes that resist wrinkling. By 1976, he was showing soft, liquid separates in muted colours that became his trademark and received 2 Coty awards, one in 1972 and one in 1976, as recognition. His business was all done on a made to order basis. That means the majority of pieces you will find are a one-off, or if there are similar pieces, very few of each piece exist. This personal attention to each dress is clearly seen in the workmanship of his pieces. His work is very expensive and beaded pieces did, and still do, retail for over $10,000. His work is a personal favourite of mine and I am thrilled to begin to offer these exclusive pieces and samples that John pulled from his own archives. I have included a reference photo of Janet Jackson wearing a similar version of the dress that he made for her Today's Black Women cover in 1998. That design was based on this original piece from 1982. It is stunning

The dress is very light in weight and the fabric is absolutely beautiful. The innermost lining is a blue silk chiffon and then a blue net lace is layered over that. Then onto the are thousands of blue iridescent sequins that follow the pattern in the lace and cover the entire dress. This allows the dress to catch the light from every angle. The effect that it creates is stunning. The dress is strapless and the bodice is set on a curving sweetheart shape to emphasize the bust. The edges at the hem and bodice are done to follow the pattern of the lace and I love the touch of romance this gives to the dress. To wear the dress, the closures have been set down the front of the dress with a hidden zipper. Tiny little hidden set snaps are set to follow the edges of the lace and these snap into place over the zipper. So once you have it on there is no zipper line to break the eye. The snaps under the lace run to about the mid-thigh. This leaves a subtle slit under the overlapping sides. This gives you a flash of leg when you move or sit and it is very sexy. The lower hem is set on a curve so that it comes up slightly at the front and is longer at the back. The skirt is lined in a blue silk chiffon and this gives it a slight transparency in the light. I love the little rosette sitting at the side at the waist for the perfect finishing detail. It is a wonderful dress. Excellent condition.

Fully lined in a hand set deep blue silky rayon through the bust and a silk chiffon through the skirt. It closes at the front with a hidden set zipper and a series of hidden fabric covered snaps. Lightly boned through the bodice. Hand finished throughout. It appears to have been worn very little if at all. 

Bust: 16" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Bodice: 9" from the top of the bodice to waist
Length: 46" from the top of the bodice to longest point of the back hem

Modern Sizing Equivalent: XS-SML

Item# DD3831

Reference Photo: Janet Jackson in John Anthony for Today's Black Women, June/July 1998.

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

Please be advised that that there will be a slight delay in shipping this item. It was with a stylist and is currently in transit back to us. It will be shipped as soon as it returns. If you need it by a specific date please add that to the notes section of your order. If it is part of a multi item order we will ship for free separately so the rest of your order is not delayed.

John Anthony is an award-winning American fashion designer best known for simple, elegant clothing with a strong sense of chic. His work veers towards minimalism, with sharp tailoring, striking evening wear being his signature. He is renowned for his cutting and tailoring. From the day that he launched his atelier in 1971 his design philosophy is a fusion of function and purpose. The function is his logical, wearable approach; the purpose, his pared-down ideas. As a designer, he considers it his job to make things easy for the customer. He designs with focus and a narrow palette for both day and night, so items can easily intermingle. He uses natural fabrics and is noted for contradictory daywear fabrics in his evening collections. In the early 70’s he was one of the first designers to promote the idea of easy-to-travel clothes that resist wrinkling. By 1976, he was showing soft, liquid separates in muted colours that became his trademark and received 2 Coty awards, one in 1972 and one in 1976, as recognition. His business was all done on a made to order basis. That means the majority of pieces you will find are a one-off, or if there are similar pieces, very few of each piece exist. This personal attention to each dress is clearly seen in the workmanship of his pieces. His work is very expensive and beaded pieces did, and still do, retail for over $10,000. His work is a personal favourite of mine and I am thrilled to begin to offer this second round of a dozen exclusive pieces and samples that John pulled from his own archives.

This jersey and lace dress is insanely sexy. Like the other listing today this one is also unbelievably light in weight. It is made from a deep blue stretch jersey that allows it to drape beautifully over the body and highlight your every curve. This is combined with a fine blue coloured netted lace and a black lingerie netting. The slight stretch that these fabrics have allow the dress to show off your curves while still feeling wildly comfortable once on. The upper bodice is made from the netting and it is done so that there is minimal seaming. It has an almost sculptural feeling to it as it glides down and extends out to make the sleeves. There is a hook at the top of the neck for a little keyhole and another at the back of the neck. The one at the back tops a long slit that runs down to the zipper at the waist so that you get a bare flash of skin along its length. A panel of lace is set in a curving angle to just cove the breasts at the front and then it curves down to the low back at the back. All of the edges follow the natural pattern of the lace and this adds to the feminine feel that it gives. The lace is not lined. So it has a transparent feel to it and your skin peeks through the netting. You could wear something nude under it, use a colour for contrast or be very daring and go bare with just nipple covers. There is strategically placed lace at the front to make the bare option work. It is just tremendously beautiful. The lace has a touch of stretch so it conforms to your bodice. The lace panel is set around the waist on an angle. It is attached over the fabric of the skirt and the workmanship is exquisite where they meet. The bodice on its own would be a full on wow but he then extended the lace down on one side so that the full side of the skirt is finished with a wide panel of transparent lace right to the floor. It is insanely sensual. The rest of the skirt glides down past the hips to fall to the floor in a beautiful drape of deep blue silk jersey. The jersey is light and soft. It is almost like an opaque, very fine silk jersey T-shirt fabric. Just incredible and it feels amazing against the skin. It is cut supermodel long in length. There is a high slit that runs up the opposite side to the lace side so that you get a glimpse of skin through the lace on one side and a flash of bare skin on the other. It is one of the most incredible dresses I have ever seen. Made to demi-couture standards. Excellent condition.

Unlined and closes with a low hidden set back zipper. It hooks to close on the front and back of the neck as described above. It appears to have been worn very little if at all. Hand finished throughout. The fabric does have some stretch so should fit a range of sizes. The measurements below give you the comfortable range the fabric has when lying flat.

Sleeves: approx 25""
Shoulders no defined seam
Bust: 17-19.5" flat across from side seam to side seam
Waist: 14-16.5" flat across from side seam to side seam
Hips: 16-19.5" flat across from side seam to side seam
Length: 64" from neck to hem
Slit: 32.5" from hem up

Modern Sizing Equivalent: SML-MED

Item# DD4010

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

This is an especially interesting dress from Alexandra McQueen. It is from the Spring 2010 collection and it is a one of the original variations of a dress whose silhouette they still make to this day. Julianne Hough just wore a black version of one of those newer ones from my archives. The one that she wore was from a later collection released under the creative direction of Sarah Burton but based on this dress and others similar that McQueen designed. If you missed that you can see it on my Instagram here. This dress I have today is one of the originals that McQueen himself designed. This was a production piece that did not make it to the runway presentation but you can see similarities in the prints from that season. It’s a spectacular example of his work and it is still brand new with its original tags. It is like finding a time capsule piece.

The dress is made from a floral printed silk crepe that has an explosion of flowers in pale pastel colours covering the entire dress. It is strapless with a built-in inner cupped bodice that gives you support and holds the dress in place. The cups are shaped and these cups are one of the things that you see that is different from the later versions of this dress. In this version the cups are shaped almost like a 1950s bullet bra. The seams in the inner cups are exaggerated and this gives them this beautiful curving angle shape at the sides and peak at the front. The silk is all bias cut. The dress glides over the inner structure and falls in column to the skirt. The waist is just a suggestion created by the seaming and it skims over the hips. At the hem you see one of the biggest differences between this dress and later versions. He has gathered the hem up and underneath so that it is sewn to the inner lining. This gives it a slight bubble effect. It is also slightly twisted so that it narrows in around you at the hem. However, the fullness of the skirt is still there so that you are able to walk with ease. It is quite genius. It also creates this incredible movement when you walk and has the added bonus of always immediately going back to that long lean line. The print that covers the dress is spectacular. It is a beautiful and romantic floral print done in dreamy shades of blue-greys, pale purples, pinks and blue. It has its original tags attached and was never worn. It also comes with a detachable pair of matching straps if you don't wish to go fully strapless. Excellent condition

Fully lined in an ivory silk and has a built in cupped corset. The inner corset closes with its own zipper and the dress zips to close over that with a hidden set zipper. Tagged a McQueen 42. It has its original hang tag still attached. The inner corset has some stretch. You could have the inner corset adjusted if you needed more or less room.

Bust: to 17" flat across from side seam to side seam with a B-C cup
Inner corset waist: 13-16" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Length: 60" from top of bodice to hem

Modern Sizing Equivalent: SML-MED

Item#

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 fall 2004 John Galliano dress is one of the most beautiful dresses I have ever seen. And yes - it is the dress that was worn by Claudia Sulewski earlier this year to attend her SXSW film premier. I’ve included photos of her here from my various Instagram posts from that evening and you can see and read more on my instagram. This dress was a production piece made for retail and is infinitely more wearable then the pieces shown on the runway that season. It is spectacular. It is a stunning example of his work.

No matter how good you think that this dress looks like in photos and on Claudia, it is even better in person and moving. The silver metallic thread that creates the pattern in the silk has a glow and glint in the light that is not quite caught on camera. The video that I have included here gives you a much better idea of the dress once on. The dress is made out of a fine silk chiffon that has a slight texture to it. The colour is a soft pale baby blue and the silk chiffon ruffles are a paler shade of the same blue. Silver lame thread is woven through the silk to create stunning medallions that run over the entire dress. The dress is cut on the bias so it just glides over the body. It is in its original supermodel length and has not been altered. It is cut to skim over the bust with a V neck plunge on both the back and the front. The dress is so well made that you can actually wear either side to the front and it works. The dress skims over the waist and hips and is cut so that the bias cut of the silk follows your curves and highlights the body underneath without it being too tight and fitted. Galliano was a genius when it came to this cut. Once past the hips the dress flares out as it nears the bottom and is incredibly long. That bias cut is further highlighted by the curving angled seams edged in a pale blue silk chiffon ruffle. These glide and curve around you and add the illusion of even more height. The transparency of the chiffon used for those ruffle gives the dress another layer of texture and dimension. The final perfect detail is a row of his signature tightly spaced silk covered buttons and loops that run down one side. It is just spectacular. This would make an amazing wedding piece for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration and of course it would work for any red carpet event or gala. Other then being worn for a couple of hours on the red carper I don't think it was ever worn. Excellent condition 

Fully lined in a matching silk chiffon. It closes down the side with a row of silk covered buttons and loops. Tagged a size US8, FR42, GB14 but the boas cut should allow it to work on a variety of sizes. The measurements given below are the comfortable range when the dress is laying flat. It is in its original uncut length. Being bias cut the length will come up a bit at the back. The dress should work on a large range of sizes given the bias cut. On smaller frames it will drape more and be more fitted on larger frames.

Bust: 16-20" flat across from side seam to side seam
Waist: 13-16" flat across from side seam to side seam
Inner hips: 18-21" flat across from side seam to side seam
Length: 69" from top of shoulder to hem

Modern Sizing Equivalent: XS-MED

Item# DD3999

Reference Photos/Video: Claudia Sulewski at the SXSW Premiere of "I Love My Dad", 2022 from Instagram. She was styled by Jared Ellner that evening

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. It is just stunning in person. Far better then the photos do it justice.

This dress is incredibly made and is shockingly light in weight. It is also cut beautifully. The net lace is very fine and light in weight and then it is backed with a blue silk chiffon through the bodice and a more opaque blue silk through the skirt. The bodice and sleeves have a touch of transparency to them that you can work with and be daring or wear something underneath. Either way it is an unexpected touch of sexiness that offsets the full coverage of the dress. It is made out of a deep blue silk net with embroidered flowers and leafs in a matching blue thread. Gold thread was then embroidered over parts of that design and this was done over the entire dress. The gold catches the light from every angle so that the dress sparkles and glimmers. At the bottom of the skirt there are two wide panels of a thatched metallic gold thread. These are set at the hem and then just above that and really anchor the dress and add visual excitement. The bodice is cut to skim over you and the sleeves are long. Each sleeve ends in an elastic so has a bit of a pouf above the cuff. The waist is seamed but not super cinched and you could add a ribbon or a belt if you really wanted to add more shape. The skirt falls to the floor with a long cut from there and widens out as it nears the hem. Those added panels of gold at the hem help it to retain its volume and shape when you have it on. It is just stunning and even better person. The fabric has so much texture and the metallic bits pick up the light perfectly. It is an absolutely wonderful numbered piece. Excellent condition 

Fully lined in a bias cut blue silk chiffon through the top and a silk through the skirt. It closes with a back hand set zipper and there is elastic in each cuff. Hand finishes. The label is numbered and it looks to have been worn very little if at all. The boas 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: SML-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.

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.

One of the key elements of the spring 1973 collection was the snap closures that Courreges used. They played a two fold role in that they were a functional element that actually acted as closures and they where also a decorative design feature that helped to highlight his signature cuts. In the runway reference photo that I have included here, you can see the same snap detailing. This is a beautiful and rare example of his Haute Couture work from this time period that still feels fresh and wearable even now.

The suit is made from the classic wool that Courreges was using for his pieces during this time period. It has enough weight to hold the sharp angular lines of the suit but without adding bulk or making it feel too heavy to wear for our modern aesthetics. The colour is a beautiful deep blue that has been captured well in these photos. The wool has  a slight texture to it. The stitching and the snaps have all been dyed to match the colour of the suit. This lets you see the seaming and detail but in a way that gives you the full picture all at once. The jacket is beautifully cut. It is meant to skim over the body with just a touch of a boxy feel to it. The sleeves are capped and the shoulders are seamed but have no additional padding. The shape is all created by the cut and perfect tailoring techniques. To wear it you simply slip the jacket on and it snaps into place down the front. The top stitched seaming detail is done to follow the lines of the jacket and become their own design element. The skirt is spectacular. It is cut to be fitted around the waist and then is cut on an angle to the hem. I have photoed it flat for you as well as on the dress form so that you get a better feel for the shape. It has an unusual way to close. There are snaps that run down each side and you can fully unsnap it on both sides. The bottom two snaps at the hem are decorative so that you get a bit of a vent on either side but all the snaps above it open. This lets you open the sides up and leave the resulting slit as high up as you dare. It is an incredible example of his work. The exterior of the suit is in excellent condition and there is a note below regarding the lining

Both pieces are fully lined in a white silk and close with the snaps as described above. There is an area of fabric missing from the interior of the skirt. It is stable and does not effect the wearing of the suit. Tagged a vintage Courreges 00

Jacket
Shoulders: 12" across
Bust: 16.5" flat across the back from seam to seam
Waist: 14.5" flat across the back from seam to seam
Length: 18" from neck to hem

Skirt
Waist: 12" flat across the back from seam to seam
Hips: 17" flat across the back from seam to seam
Length: 22.5" from waist to hem

Modern Sizing equivalent: XXS-XS

Item# DD1091

Reference photo: Andre Courreges Haute Couture Spring 1973

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

Christian Lacroix launched his Haute Couture house in 1987 and his work was instantly revered world wide. He defined an era and he was crowned the King of Couture. A ready-to-wear line soon followed along with perfumes and menswear. His collections were always exotic and lavish affairs. He drew his inspirations from across the decades and I doubt there was ever a more high glamour couturier. This dress is very special and a stunning example of his work during this time period. It has all the signature Lacroix drama that you could ask for. It comes to me from the original couture client. The twin of this piece walked the runway that season. My client ordered hers in a slightly different shade of silk taffeta and the atelier changed the colour of the stone in the jewelled brooches to match this fabric selection. His couture pieces rarely come to market and this is an exception example of his work. 

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

Fully lined in a black silk organza and closes with an elaborate mix of a zipper, snaps and hooks at the back. One flaring panel loops through the other. It is in wonderful condition with a few small things to note from normal wear. There is rubber ribboning along the neckline to hold it in place and this has changed colour here and there. There is one stone missing at the bottom of the front brooch. The brooches are removable and you can see little marks on the fabric under them where the pin has been pushed through in different places. There are a couple teeny pinhead marks on the fabric where the brooches have caught on the silk near the brooches. Very minor. It is really in stunning condition. Unlabeled and sourced from the original couture client

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

Modern Sizing Equivalent: SML-MED

Item# DD3602

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

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

The Fall 1958 season was Yves Saint Laurent's second collection for the house of Dior. It was titled the 'Line Courbe - Silhouette en Arc' which translates to Curved Line - Arched Silhouette. In the book 'Dior Catwalk'  they have abnb excerpt from the original show notes that explain the inspiration behind the silhouettes on the show. They stated that 'The structure of this season's fashions is inspired by one of the fundamental lines of architecture, curved convex lines... the definitive curve of the well-marked rounded shoulder line, the softened curves of skirts and the semi-circle of Palladio's arcade as key characteristics.' Vogue said that the proportions 'were the newest look in Paris. This show is also spacial because it was only one of three shows in the entire Dior history (the first in 1954 under Christian Dior himself and the third decades pater for a cruise show), that after it was show in Paris it was then brought in its entirety to the Blenheim Palace. There is was presented to raise funds for the British Red Cross and the collection was presented to Princess Margaret and guests at Blenheim Palace. It was also the piece from the collection that season that was chosen for the cheeky ad campaign. In the campaign a model in the coat holds a a minature version of herself on her palm wearing the coat. The coat also appears in the book 'Dior: Yves Saint Laurent 1958-1960' which is a coffee table sized book that is part of a series on each of the designers for Dior. The book series celebrates the houses 70th anniversary. The coat is in exceptional condition and it is an extraordinarily beautiful piece of fashion history. Yves Saint Laurent was at Dior for only a short time period; creating only six couture collections while there, which makes piece from his reign especially rare and an important part of not only Dior's history but of Yves as a designer as well since this would represent some of his very earliest work.  

The coat is made from a heavy, deep blue silk with a satin finish. The coat would have be considered to have been a ‘Petite Theatre’, a 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. This sits above a double row of buttons. The buttons have been hand made and covered in the same silk as the coat. Each button slips into a perfectly made button hole and all the work is done by hand. Pockets are hidden along the curving seams that are inset sightly towards the front of the coat so that the vertical line stays clean and simple. The back has tremendous volume and this fullness is created by a soft inverted pleat that opens from just under the back collar and extends down to the hem. Besides the volume this creates it also directly relates to the shapes that Yves intended the pieces in this collection to have. From the side, this gives it a bit of caped back feel and would have layered perfectly over the fuller backed skirts of the dresses in this collection. The silk that has been used is of the highest possible quality and the colour is an even darker shade of blue in person then how it photoed here. It appears to have been worn very little and is in outstanding condition. The proper 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 Saint Laurent's very earliest work with as a couturier and as the head of Dior. It is 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 buttons and 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. The proper Haute Couture label is present and it is numbered. Done with Haute Couture construction techniques.

Sleeves: 16"
Slightly dropped shoulders: 16"
Bust-hips: open
Length: 38.5" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# DD3601

Reference Photos: (1) Christian Dior ad, 1958.  /  (2-3) "Dior: Yves Saint Laurent 1958-1960", pages 108-109, published by Assoulin. 

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