After the premature death of Jean Patou in 1936, his sister took over the house and eventually had other designers head the atelier. On the Jean Patou site the history of the houses designers is clearly laid out; 'Marc Bohan, born in 1926, made his debut with Jean Patou at the age of 18. He left the couture house to better find himself as the artistic director. He kept the legend alive from 1954 to 1957. He moved on to serve as the head of creation at the Dior house for the following thirty years. Karl Lagerfeld joined the fashion house as head designer in 1958 and left Jean Patou in 1963 to devote himself to ready-to-wear houses with whom he collaborated. Michel Goma remained at the head of the fashion house from 1963 to 1974. He developed ready-to-wear in parallel with his couture work. Jean Paul Gaultier began his career with Jean Patou during Michel Goma’s time there. He joined the studio in 1972 at the age of 20, completing his apprenticeship there. He left the house in 1974 to work at Pierre Cardin. Angelo Tarlazzi took over the reins of Jean Patou in 1974, succeeding Michel Goma. He left at the end of 1977 to start his own brand. During his time with Jean Patou in the 1980s, Christian Lacroix gave the brand a new life. Lacroix dared all the crossovers, unexpected combinations of colours, extravagant details (such as the famous tafetta hand-painted toile de jouy cocktail dress), and oriental inspirations reminiscent of those Jean Patou loved them at the time of his splendour. He received the prestigious Dé d'Or de la Couture award in 1986 for his work, before the fashion house ceased its activity in 1987 and Lacroix founded his eponymous house within the LVMH group.' After a lot of research I have dated this to be from the Spring 1977 collection under Angelo Tarlazzi's time there. I found a reference photo of a dress from that year with a metallic lame finish and pleating and it seems that this was a theme used through that collection. 

The dress is magnificent. It is one of the best examples of Patou's work that I have seen and it is just an incredible dress in its own right. It is made out of a bronzed metallic lame that has a design worked through it in gold thread. This addition of a pattern worked into the silk lame allows the fabric to catch the light from any angle and gives it this wonderful extra texture. The entire dress had been knife pleated and each pleat is the exact same size as it's neighbour. The pleating adds yet another layer of texture to the dress and it is stunning The dress is suspended from the shoulders by two tiny straps made out of the same fabric. It plunges into a V at the front and then at the back it plunges all the way to the waist seam. This leaves a broad expanse of bare skin showing. To add to the sense that the top is just a bare bit of fabric covering you, each side also plunges into a V. As the silk lame fabric drapes over your bust and back the pleats open and expand to create a little bit of volume. The front has a seam under the V that is closed up the centre to the base of the V but I think if you wished you could have it opened so that it also plunged right to the waistline. Same with the sides. The waist nips in and then the skirt falls to the floor under that in a sweep of pleat work and lame. There is an incredible amount of fabric in the skirt. The fabric is feather light and so fine that when you stand still it falls in a column but then, at your slightest movement, it moves with you and you realize just how expansive the skirt really is. No matter how great the photos look it is that much better in person. The fabric is just stunning and every line of the dress is perfection. I am obsessed. Made to demi-couture standards. Excellent condition 

The bodice is partially lined at the front only with a silky rayon and the skirt fully lined in a brown silk. It closes with a back metal and nylon zipper. Tagged a vintage 36. The pleats allow the bust to expand quite bit but will also sit well on a smaller bust too. If the waist fits it should work an a range of sizes

Bust: approx 14-18" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of bodice to waist
Skirt: 43.5" from waist to hem

Modern Sizing Equivalent: XS-MED

Item# DD3825

Reference photo: Jean Patou L'Officiel Spring 1977 

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 so well documented and photoed when it came out for the Spring 2017 collection it is almost mind boggling. It is instantly recognizable as Phoebe's work and it is amazing. When I started to hunt for references for it I found all the ones that are here, plus there are probably more out there that I just have not yet seen. All of Phoebe Philo's pieces for Celine have reached cult status and the prices are just continuing to rise. Her work is a must have for the vintage collector and this is a particularly hard to find dress that is rare and collectible. 

The dress is made from a stretch jersey and this one is finished in one of the three colours/patterns released in this style. The bodice is set over the bust with a wide flat cut at the top and then it angles down to the keyhole at the waist. There are elastic straps that you slip your arms through and the front just skims over you. The back is left completely bare and dips quite low so your entire back is bare and open. The key hole at the front is set so that it is twisted over itself and just this little detail alone give you a glimpse into the magic of Pheobe's vision and quirky aesthetic. The skirt is suspended from that knotted keyhole at the waist. Elastic runs through the top of it so it is very forgiving and accommodating. The skirt widens out into a loose and easy draping of jersey to the hem. Once you have slipped on the dress it simply hangs and drapes down and around your body. It is incredibly comfortable and easy to wear while being devastatingly sexy. The jersey has a lot of stretch so the size on the tag is almost meaningless. This one is a 34 but will easily fit a range of sizes from probably about a 0 to a 6 or 8 with ease depending on your frame. This is true fashion history and one of the most documented pieces I have ever seen. A testament to the genius of Phoebe and the impact of her work on fashion. It appears to have never been worn or worn very little. Excellent condition

Unlined but the fabric is opaque. It slips on to wear with elastic at all the edges. It is tagged a 34. It appears to have never been worn or worn very little. The fabric has incredible stretch so it should fit a large range of sizes.

Bust: covers to 22" flat across the front
Waist: 13-19" flat across from side seam to side seam
Hips: open" flat across from side seam to side seam
Bodice: approx 15" from top of bodice to elastic waist
Skirt: approx 42" from waist to hem and might come up a little depsneign on what size you are and its need to stretch horizontally

Modern Sizing Equivalent: XS-MED

Item# DD3823

Reference Photos: (1-4) Spring 2017 Celine Runway Collection. Look 4. Model: Mali Koopman.  /  (5) Edie Campbell photographed by Mikael Jansson, Vogue Paris, March 2017.  /  (6) Daphne Groeneveld phtographed by Zoltan Tombor for The Sunday Times Style, March 2017.  /  (7) Photo by Choi Yongbin, Harpers Bazaar Korea, 2017.  /  (8) Jip Boxstart photographed by Van Mossevelde for D La Republica, February 2017.  /  (9) credit unknown.  /  (10) Shin Min Ah photographed by Kim Yeong Jun for Elle Korea. April 2017.  /  (11-12) Vogue Australia's fashion director Christine Centenera in Celine at Vogue Australia’s 60th Anniversary Supper, December 2019. Photos by Hugh Stewart.

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

Perhaps one of the most iconic of all the Yves Saint Laurent pieces, the laced safari corset top is a piece coveted by anyone who loves vintage or is a collector. When Yves introduced them to the world in the Spring of 1977 they caused a sensation. They are as important now as they were then if not more so. This particular one is extra special for two reasons. The first reason being that we found a reference of this exact colour as it walked the runway that season and the second that it comes with its matching skirt. The skirt is a different one then the one the corset's twin was shown with on the runway because once these pieces hit the shops they were sold on a mix and match basis. I love the pattern with the solid top. I think it gives it more pop then the solid coloured skirt did. The corset tops were produced in a small range of specific colours and I love that I have found one in the exact colour match to the runway piece. 

The top is edged in a white and brown braiding with a chevron design that offers a wonderful contrast. It is made out of a canvas weight cotton that gives it its shape and a little extra structure. To wear it you just slip it on and then it laces into place at the front as shown. The top is rounded at the corners and the waist is seamed for even more shape. The peplum effect at the hip adds to the bombshell effect and curves the corset created. I love that you can lace it in tightly so that it is completely closed or leave it looser for a bit of skin to peek through down the front. The skirt is a classic shape from this time period in YSL's history. It is banded at the waist and then has lots of volume underneath that. Pockets sit at each side of the hip and I love the big oversized paisley print that pics up the colour of the corset top and also has bold pops of blue and red worked through the print. It is gorgeous and seriously chic. Bonus points for being able to mix and match both pieces with other things in your wardrobe. Excellent condition.

Both pieces are unlined. The top laces to close at the front and the skirt closes with a side set zipper and a flat hook & eye at the waist. The skirt is labeled the top is not.

Note that the top is measured with the front edges lined up and completely closed. You will get more room by creating/leaving a space between the edges when lacing it closed.

Corset top - fully laced up to the edges meet
Bust: 17" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Length: 22" from top of the shoulder to the hem

Skirt
Wast: 14" flat across from side seam to side seam
Hips: open
Length: 31" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3816

Reference Photo: S/S 1977 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.

Stella McCartney started at Chloe in the Spring of 1998 and forever changed the brand. She was intrumental in reviving the Chloe name and her years there produced some of the most iconic looks of the brand's history. This dress is the twin of the one that walked the runway for the Spring of 2001. Vogue's review of the collection said in part; 'VH1/Vogue Fashion Awards Designer of the Year 2000 Stella McCartney certainly did not disappoint her legions of fabulous young fans who rely on Chloé for the season’s hot new trends. But this season, in addition to delivering sexy new T-shirts and plunging bathing suits (with playful pineapple motifs), McCartney explored grown-up territory. Perhaps drawing inspiration from Schiaparelli’s inventive chic, McCartney worked graphic horse prints (borrowed from Stubbs and Géricault) into loosely structured diagonal-seam dresses and beautiful jackets with a softly draped triangle shoulder.... This was a very strong collection for McCartney, and one that confirms her considerable talent and potential as a major designer.' We all know in hindsight how true those words were. The horse print pieces from this collection are some of the rarest and hardest to find and this is a piece that will only increase in value and get more important as time goes by. 

This dress is especially interesting as it is an impoertnat part of modern pop culture too. In the show Sex and the City, Carrie Bradshaw, played by Sarah Jessica Parker, wears it as as a coat. Stylist Patricia Fields paired it with a tulle petticoat underneath and left Carrie's nude bra exposed. In 2001 this was almost scandalous and it shows you the strength of amazing styling and how pieces can play double duty under the right eye. When worn as a dress it is a very sexy piece. The silk has a bit of a crepe texture to it and there is a touch of transparency to the fabric. To wear it you simply slip it on and it wraps over you at the front and secures at the waist by two tiny little buttons and loops. This leaves it plunged right to the waist at the front. The skirt part wraps over itself right across the front to make it safe and secure to wear without it opening on you. I am obsessed with the sleeves and how they have a poufed fuller area at the top of each shoulder. They then narrow down to the wrist. The runway version was shown with a belt and you could easily switch up the look by adding one of your own. The print is her now iconic horse print and it runs over the entire dress to make it instantly recognizable as being from this Chloe collection. It is fantastic. It looks to have been worn very little if at all. Excellent condition

Unlined and closes with buttons at the waist. You could easily adjust the waist measurement if needed by moving the buttons. Tagged a Chloe 36 and has a slightly generous cut. It should fit a range of sizes 

Sleeves: 22"
Slighty inset shoulders: 14"
Bust: 17" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: open
Length: 44" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# DD3817

Reference Photos: Spring 2001 Chloe Runway Collection, Look 11. Model: Colette Pechekhonova.

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 example of the fur pieces being produced during this time period. This was the beginning of the movement of treating fur more like a fabric and making coats that had far more style to them then the previous norm. It is made from alternating strips of a deep brown mink, an ivory mink and then a dark brown leather that is so deep in colour it picks up as black against the other two. The fur is supple, shiny and very soft. The fur is set in on angled chevron rows with the bands of leather in between. This creates an incurable visual effect. It is cut in a classic sixties cut that flares out as it reaches the bottom hem. Each sleeves widens out to a flare finish at the cuff and I love how the pattern is taken down right to the ends of each sleeve. The collar is notched and made from the darker mink and this then runs down the front and around the hem to anchor the angled pattern. It does up with textured black dome buttons at the front. Pockets sit along the edge of the seams at each hip. It has been properly stored and cared for and appears to have been worn very little if at all. No splitting, issues or shedding. Excellent condition

Fully lined in a deep brown silk satin and closes with buttons down the front. Pockets on each hip. I see no bald spots or shedding. The pelts are supple and soft. The fur has the slightest bit of a vintage storage smell. Very minor. It is still supple and is stable with no signs of any shedding that would indicate that it is breaking down.

Sleeves: approx 23"
Shoulders: no defined seams
Bust: to 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: 41" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# C579

This garment is clean as found condition. 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.

This was Look 14 in the Fall 2004 line-up from fashion icon Miuccia Prada. This collection is still thought of as one of her most stellar achievements and I doubt the pieces and prints used in this collection will ever truly go out of style. The reviews were spectacular. Vogue.com said of this collection: 'Audiences always arrive at Prada shows tingling with anticipation, braced for Miuccia Prada's next departure from the last season's plot. This time, she confounded expectation again, not by taking off in a new direction, but by developing the cache of ideas layered into her spring collection. That, of course, was famously about the fifties lady tourist, with an overlay of hippie-ish tie-dye among the circle skirts and knits. For winter, she took that same woman into new realms of intellectual exploration on the print front: back to the future, in fact. This time, she confounded expectation again, not by taking off in a new direction, but by developing the cache of ideas layered into her spring collection...."It was a dream of extreme romanticism," she said. "The idea of eighteenth-century painting, with video games. A romanticism between past and future."....For colder months, she added more layers, adding in dip-dyed cable knits and buttonless cardigans betwixt tweeds and bejeweled fifties-style couture-like pieces. What held it all together, literally, were the cinched waists, circled in narrow grosgrain ribbon or with tie-on belts encrusted with sparkle. It was that idea of jeweling, on collars, belts, and fabric brooches, that added the news.' 

On the runway this was shown layered over a jewelled skirt that ironically we just had in the shop in a blue tone. It is one of the most instantly recognizable coats that she’s ever done I think. The coat is made out of a shearling with the sheepskin facing towards the inside to keep you warm while the leather side is on the exterior. When the coat is closed you only see the shearling interior on the flipped up cuffs. If you don't want any shearling to show you can flip them down. Putting the leather on the exterior gives it this amazing feeling of a natural patina and a slight vintage feel to it that I love. The coat falls from the shoulders and gradually widens out as it nears the hem. The shoulders are cut to slouch a bit which gives it an easy to wear feel. Most of the seaming is done on the vertical and cut so that it has some shape through the body. Pockets sit on each hip for a cozy place for your hands. Running down the front and over the hidden set fur hooks is a strip of luxurious natural coloured mink. There is no collar but there is a wide band of golden toned silk inset around the neckline. This was then covered in a pattern made up of gold beads and big oversized glass crystals. They have been applied by hand are are densely set to all the way around to highlight the neckline. It is just gorgeous. This is an iconic piece of Prada history. Excellent condition.

The leather is fully backed in sheepskin shearling. The jacket closes with hidden set covered fur hooks down the front. Pockets on either side. The cuffs can be flipped down. The leather has a natural bit of scuffing that is part of this type of leather and a desired effect. Tagged a Prada 46.

Sleeves: 23" with cuffs turned up, 25" with them turned down
Shoulders: 16"
Bust: 19" flat across from side seam to side seam
Waist: 18" flat across from side seam to side seam
Hips: 21" flat across from side seam to side seam
Length: 45" from neck to hem

Modern Sizing Equivalent: MED-LRG

Item# C580

Reference Photos: Fall 2004 Prada Runway Collection, Look 14.

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.

Hanae was the first woman of Japanese descent to have presented on the Paris and New York runways and the first Asian woman to be admitted as an official Haute Couture house to La Chambre Syndicale de la Couture Parisienne. Her work is exceptional. This dress is an amazing example of how she could design for a younger audience and still keep to her aesthetic. I have had a version of this dress in the shop in that past with the same sleeves and use of cotton. That one was a set that was the twin of the one exhibited in the 2015 "Kimono: A Modern History," exhibit. Mori's twist on making the traditional kimono into a more modern garment was a key component of the exhibit. This dress is the caftan version. The Met has this dated within the range of 1966-1969.

I am a huge Hanae Mori fan. She was a master at colour and print. For the pieces in this series she utilized a light weight cotton that has just a touch of transparency to it. The fabric has a slightly coated feel to it which helps to give it a little stability and hold the shape. I love how both the sleeves and the body of the dress have the same print but because the fabrics have a different opaqueness quality to them - the body of the dress is lined and the sleeves are not -  you get this wonderful contrast between the two. Each sleeve is a long loose panel of the printed cotton that is set at the top of the shoulder only and then flows down in a loop, coming back up to meet the shoulder once more. The length and width suggest the long sleeves of the kimono. The Met noted in their exhibit notes that 'they are reminiscent of the extended sleeves of the furisode, a formal kimono style worn by young, unmarried women'. The dress is cut into a wide and easy to wear caftan feeling silhouette. It falls from the shoulders at the front with a high wide cut neck. At the back it dips into a low V. The dress skims over the body and widens out gently as it nears the floor. The sleeves extend down past the knees. It is very beautiful. I love the colour mix of the bright pinks and coral with the charcoals and soft creams and the huge floral print is pure Hanae. It is a truly fabulous example of her work. It appears to have been worn very little if at all. Excellent condition

The body of the dress is fully lined in a cream silk and the sleeves are unlined. It closes at the back with a panted metal zipper. The easy cut should allow it to fit a range of sizes

Sleeves: 16" w x 39" drop
Shoulders: 15"
Bust: to 20" flat across from side seam to side seam
Waist: to 18.5" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 61" from top of shoulder to hem

Modern Sizing Equivalent: SML-LRG

Item# DD3806

Reference Photo: The Metropolitan Museum of Art. "Kimono: A Modern History," exhibit, September 27, 2014–January 4, 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.

I am always on the look out for this style of dress by Halston. It is one of the most iconic of all of the Halston silhouettes. Countless women have been photoed in a version and I have included many of those reference photos here. Versions have been exhibited and there is always one included in every and any book on Halston and his work. This is a very unusual version in a terry cloth. I have had one of these a long time ago and was excited to have my client send in another! The terry makes it extremely easy to wear and travel with. These were issued in a variety of colours and are normally found in a jersey so a terry one is a fun find.

Halston was a master at this cut. There is a certain sexiness caused by the illusion that the entire dress is held in place with that one little tie at the front. And it actually is. Undoing the front tie would cause the entire dress to drop in a puddle around you. It is constructed from a deep brown coloured terry cloth and it skims over the body in a long sheath. The entire dress is cut to gather up and towards the bust so it falls in soft drapes all the way to the hem. At the bust there are two attached short ties that you can cinch in as needed to hold the dress in place. I love the long lean line that this creates and it is amazingly sexy despite the fact that it is not tight fitting. This is heightened further by your bare shoulders that add the perfect contrast to that covered feel below. This is an iconic dress by Halston that is easy to  care for. It is wash and wear and virtually wrinkle free which makes it perfect for traveling. It is very easy to style too - a quick change of shoe takes it the beach to the market and even for a night out. Excellent condition.

Slips on to wear and ties as seen at the front. These will fit a variety of sizes since they are not cut to be super fitted.

Bust: to 18" flat across from side seam to side seam
Waist: to 20" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Length: 47" from top of the bodice to hem

Modern Sizing Equivalent: XS-MED

Item# DD3802

Reference Photos: (1) ‘The Strapless’ in Women’s Wear Daily, August 1976. / (2) ‘The New York Collections: Easy Winners!’, Jacques Malignon for Vogue, September 1976. / (3) ‘Your Night to Star’, Ladies Home Journal, December 1976. / (4) Elizabeth Taylor in Halston at the 1976 Oscars. / (5) Marisa Berenson in Halston, Vogue 1976. Photo by Richard Avedon. / (6) "Yves Saint Laurent + Halston. Fashioning the 70s" Exhibit at the Museum at FIT, 2015. / (7) Halston's original sketch for the tie-front strapless dress & Lee Radziwell, 1976. / (8) Rachel Zoe in Halston at the Zoe Report Dinner, 2014. / (9-10) Cherie, Owner of Shrimpton Couture.

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

I absolutely love Josefa caftans. They are like owning a piece of wearable art as each was entirely hand made, detailed and embroidered. They were made in Mexico in the late sixties to early seventies and were the epitome of Bohemian chic in their day. They are easy to wear pieces that can go from the beach, to exploring far off markets to being worn as an evening piece depending on how you style them. This one is a classic design based on a sleeved caftan dress silhouette. The cotton is still crisp and fresh feeling and has been hand dyed to the perfect rustic desert colour. It has hand placed ribbon detailing and a sprinkling of embroidery work. The ribbon work defines the neckline, bodice and sleeves. It also runs down the full front and across the upper back. There are hand done black embroidery details that are done in straight lines over the dress. These add a pop of contrast. I also love the pin tuck detailing at the top of the bodice and the little birds that are embroidered onto each sleeve and at each side of the back skirt. The soft taupe cotton and the gold toned ribbons perfectly compliment each other. It is cut to skim over the bodice and then flares out dramatically as it reaches the hem. The sleeves are cut to do the same and widen out as they near the cuffs. Excellent condition with a minor note to review below

Unlined and slips on to wear. The fabric has natural variations in it. Overall it looks to have been worn very little if at all. I do see a very faint mark on one ribbon and on the fabric at the front. Please see the photo after the label shot. The colour in person is slightly lighter then how it photoed. The loose cut will allow it to fit a range of sizes

Sleeves: approx 20"
Shoulders: no defined seam
Bust: to 21" flat across from side seam to side seam
Waist: to 26" flat across from side seam to side seam
Hips: open
Length: 58" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# DD3801

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 gorgeous dress is by Alfred Bosand who was one of the great American designers but whose work is not as well known as some of the other more prominent American designers. His clothes where made to demi and couture levels with lots of hand finishes and detailing to them. Bosand started his career after World War II by attending the Fashion Academy in New York City. He then worked with several designers before launching his own label. By the time he retired in 1986 he was one of New York's last privately owned couture designers with his own label. His work is of very high quality. I just recently sold the twin of this dress in a cream and it is lovely to have another one land in the shop so soon. 

Bosand dresses always have a sense of romance to them and this dress with its matching caplet is no exception. Both pieces are constructed from a lightweight silk net that has little dots woven through it. The top netted layer sits over an inner lining that is finished in a pale peach colour. This softens the brown a touch as the peach colour peaks through the netted layers and adds to the illusion that you are perhaps bare underneath. The entire top of the bodice is covered in iridescent sequins that have all been hand applied. They are set be spaced more densely together towards the empire seam and then scatter up to the neckline. The dress is suspended from tiny double straps that curve over each shoulder. The bodice is kept simple with a low scoop at both the back and the front and a high seam under the bust. From under the empire waist seam the skirt cascades to the floor and widens out as it nears the hem. There are yards and yards of fabric in the skirt and it is made up of three layers, the top net layer that floats over an inner silk chiffon layer and then under those two layers is the lining. The dress comes with its original matching caped scarf piece. This has a built in collar that hooks to close and then the collar has the same sequin detailing done to it. The caplet is cut to end just at the empire waist seam at the front and then hangs with long panels that trail over each arm and around the back all the way to the hem. It is incredible and when you move it catches the air and moves beautifully. Excellent condition. 

The skirt is fully lined in an peach silk crepe with an additional layer of a brown silk chiffon between the skirt layers. The bodice is lined in a nude silk. The capelet is unlined and made from a single layer of the netting. The dress closes with a back painted metal zipper and the cape closes with two hook & eye at the collar. Hand finished throughout and hand applied sequins on the dress and collar of the capelet.

Bust: 17.5" flat across from side seam to side seam
Empire waist at seam: to 14" flat across from side seam to side seam
Inner hips: to 20" flat across from side seam to side seam
Bodice: 12" from top of shoulder straps to seam under the bust
Skirt: 48" from seam under the bust to hem
Cape: neck is 14" around. It falls 10" at its shortest length at the front and 60"to the longest length

Modern Sizing Equivalent: SMl-MED

Item# DD3683

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

This is a gorgeous twenties flapper coat that is not 100% perfect but too dreamy to not give it a second life. It is made out of a beautiful caramel wool that is soft and light. This is accented with light taupe collar this is finished in what looks like a faux broadtail. The coat has a beautiful drape and ease. It falls to just past the knees and has a loose and easy cut so can be thrown on over just about anything. The upper portion of the coat has soft rounded shoulders and these curve gracefully into the sleeves. Each sleeve is quite special with a huge turned up cuff that ends in two angled points. More detail is added to the cuffs with four lovely curving scalloped designs that run up the length of each cuff. These same scalloped edges are used along the seams of the front and at the back. The collar is equally special with a wide soft cut that sits up a bit from the shoulders and at the back it angles down into a point. The button to close it at the front is a large hand carved bakelite button. I love the folds of fabric under the button that fall to look like a ribbon to the hem. At some point someone has removed the entire interior lining and the seams have bits of that and the ribbon that secured it here and there. I see a small repair that is hidden when you close the coat. It is so lovely that I feel that these things that you don't see when it is one are entirely forgivable. Excellent condition other then the items noted. Please read the full description below

The lining has been removed and you can see parts of it here and there at the edges. It closes with the button at the front. I see a repair to the wool on the front under where it crosses over. This is hidden when the coat is closed. There is a residue under on arm at the seam that shows through and a repair on the loop that closes the coat. Please see the last three photos. Sold as found. The loose and open cut will fit a range of sizes. For its age it is still sound and wearable.

Sleeves: 23" from the slightly drop shoulder
Shoulders: 15"
Bust: 20" flat across from inner side seam to side seam
Waist: 19" flat across from inner side seam to side seam
Hips: 20" flat across from inner side seam to side seam
Length: 40" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# C566

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

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

I recently sold the near twin to this coat and am happy to have one more for you. These are the only two I have ever seen like this. This one has a slightly different collar and has a bit more grey tones through the cream parts. It is a stunning example of the fur pieces being produced at this point in Christian Dior's history. It is made out of a sheepskin that has been brushed out so that is is soft and fluffy. You can see in areas where the undercoat is very curly. The color is a combination of creamy ivory mixed with a pale caramel that has an almost pink cast to it in some areas. You can also see some deep grey hairs here and there on this one too. It is a little more pastel feeling in person then how it photoed. The fur is very soft soft and very fluffy. It is done in rows of fur that are tightly set up against the next row above and below. The collar on this one is a little neater then the other one I had and wraps around the neck to create a gorgeous frame around the face. These were almost certainly made to order which would have allowed the client to make small changes to it like the shape of the collar. It is cut in a classic pea coat style with a flared bottom. There is a fur hook at the neck and pockets sit along the horizontal row on each hip. The sleeves are cut straight and full. It is a stunning choice for the girl who believes that vintage fur is a sustainable choice. Excellent condition with a minor note below to review.

Fully lined in a deep taupe silk that is embroidered with the Christian Dior name throughout and with the former owner's name - Clarissa. There is one fur hook at the neck and the clip part of one further down but no loop on the other side. Pockets on each hip. There is slight wear at some of the common points of contact. The edges of the sleeves, collar, pocket tops, the inner edge of the coat, but all are minor. Please see the photos provided. It is fresh back from the cleaners. 

Sleeves: 22.5"
Shoulders: approx 15-16" but no inner defined seam
Bust: to 18" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: 21" flat across from side seam to side seam
Length: 40" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# C565

Reference Photos: (1) Models in Christian Dior fur coats, L'officiel Magazine, 1971.  /  (2) Christian Dior Coat from The MET Collection.  /  1960s-70s Christian Dior Coat from The Met Collection Online.

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.

This is an exceptional twenties flapper coat that is made of a beautiful and fine deep brown wool and is accented with a thick and curly sheepskin at the collar, cuffs and the hem. I love that is almost is a play on gender as it has a touch of the feel of what men were wearing in this time period but at the same time still feels decidedly female. It falls to just past the knees and has a loose and easy cut so can be thrown on over just about anything. The upper portion of the coat has soft rounded shoulders and these curve gracefully into the sleeves. Each sleeve is spectacular with long and extensive sheepskin cuffs. The cuffs circle the lower portion of the sleeve and then trail up and around the back of the elbow. The collar is equally as special and is exaggerated in size. It extends well out past the shoulders  and curves around the back. It then dips down to the waist with a touch of a men's evening coat feel to it. Another panel of sheepskin was added all around the hem in a very wide panel. I love how the top of the bottom panel is finished with a soft curving scalloped edge. Just above that are topstitched pin tuck seams that follow the scalloping of the sheepskin. These are done in stacked row and are set all the way around the lower part of the coat. More top stitched seams are done under the back collar even though most are hidden. The inside of the coat has been lined with a matching silk satin with a striped texture to it much like men's suiting. It closes low and to one side with a huge carved bakelite button. I love the wide and easy swing cut through the body. Excellent condition with notes below

Fully lined in a matching brown silk. It closes with the button at the front and silk ribbons inside that snap around a loop. One tiny hidden pocket along the inner seam of the opening. The loose and open cut should fit a range of sizes. There is some wear and loss of silk under the interior of each arm and around the collar. For its age I still rate this as excellent. 

Sleeves: 23" from the slightly drop shoulder
Shoulders: 15"
Bust-hips: 19" flat across from inner side seam to side seam
Length: 39" from neck to hem

Modern Sizing Equivalent: XS-Med

Item# C567

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.

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.

This is from the famous Russian collection from the Fall 1976 Collection and these are rare and hard to find. The now legendary 'Opéra Les Ballets Russes' Haute Couture collection by Yves Saint Laurent for that season was one that took the fashion world by storm and has been endlessly re-interpreted since. Stylist Catherine Baba has the twin of this coat and versions have been well documented. The Met has a fabric version in their collection and the suede version was photoed for Vogue that season. This was a key look of the season and highly collectible. 

The coat is in exceptional condition and looks to have been worn very little if at all. The leather is soft supple and the color is a deep chocolate. The inner bodice has been lined in a sheared sheepskin that is very soft and fine and has been dyed to a deep chocolate color to match the leather. The sheared sheepskin is set to follow the front edges and goes all the way around the neck and down the front. There is also a a band of it set within each cuff. The lines of the coat are pure Yves from this time period. The neckline is cut high on the front to curve gracefully around the neck. The shoulders are set high with gathers so that they have a slight capped feel to them. Under the top portion of the coat the lower portion of the jacket is set into the waist seam and done like a proper skirt would be with slight gathers along the top so that it has some fullness. Inside the coat the upper bodice is lined with the sheared fur and the lower part of the skirt is lined in a quilted fabric.  I love how all the edges are top stitched with a deep red thread, placed to emphasize the lines of the coat and add to its Russian feel. This wide panel of red top stitching runs all the way down the front, around the collar and finishes each cuff. Highly polished buttons close the coat down the front. It really transforms when on a real girl and is just wonderful. Amazing and rare piece of fashion history. Excellent condition.

The upper bodice and cuffs are lined in fur and the sleeves and skirting of the coat are lined in quilting. It closes with the buttons at the front. Tagged a vintage YSL 44

Sleeves: 24"
Shoulders: 16"
Bust: 19.5" flat across from side seam to side seam
Waist: 18" flat across from side seam to side seam
Hips: open
Length: 47" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# C404

Reference Photos: (1) The Peasant Collection 1976 as photographed by American Vogue  /  (2) Coat from the MET  /  (3) Yves Saint Laurent Runway.  /  (4) Catherine Baba at the S/S 2017 Haute Couture Shows in Paris. (Top Photo by Nabile Quenum; Bottom Photo by Phil Oh)

I have a small collection of historically important, key designer labelled vintage furs, fur trimmed & feather 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. All fur coats, fur trimmed & feather pieces are final sale

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD2874

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

This is a super easy set to wear and I love the ease it has once on due to the bias cut of the fabric. The silk is a rust and white stripe that is set on a diagonal to follow the bias cut of the silk. It has a little secondary floral pattern woven through it that gives it some added texture. The skirt is a simple pencil silhouette that falls to just below the knee. It does up along one side and I love the white piped finish at the hem. The top slips on and has a wide, straight cut neck. The sleeves come out from the sides with no seaming so have a soft slouchy feel to them. They each narrow in to the cuffs and are finished with that same white piping. It is very chic and easy to wear and the fabric is very light in weight. Great overall condition with a note below.

Both pieces are unlined. The top slips over the head to wear and has snaps along the seam near its hem. The skirt snaps and hooks to close at one side. One pockets on the skirt where it closes. You could move the hooks up or down probably up to an inch either way to adjust the waist.

Top
Sleeves: approx 19"
Shoulders: no true seams
Bust: to 19" flat across from side seam to side seam
Waist-hem: 17" flat across from side seam to side seam

Skirt
Waist: 13.5" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Length: 29" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3510

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

This is the vintage fur everyone looks for. That simple box cut to just past the hip in a natural red fox. It was the jacket that every 'It girl' of the seventies wore. It has a strong nod to the 1940s in its cut and fits perfectly once on without overwhelming the body. The shoulders on this one are soft and rounded and the cut through the body is loose and generous. It has an almost swing jacket cut to it. All of the pelts run horizontally and I love how they all line up across the sleeves and through the body. Suede insets run between the pelts but the fur is so thick and plush that you don't see them once it is on - they are just there for a touch of structure. It has no collar and the neckline is cut a little wide across the top. Fur hooks are hidden down the front. The pelts are thick and glossy and it looks to have never been worn or worn very little. It is a stunning choice for the girl who believes that vintage fur is a sustainable choice. Excellent condition.

Fully lined in a golden silky rayon and the lining is spotless. Closes with fur hooks down the front. It has been specialty cleaned. Perhaps the teeniest of wear near on the fur at the edges of the cuffs but very minor.

Sleeves: 22" 
Shoulders: no defined seam
Bust: 20" flat across from side seam to side seam
Waist: 21" flat across from side seam to side seam
Hips: 22" flat across from side seam to side seam
Length: 32" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# C548

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 have held this in my archives for several years now and I think that it is a stunning example of the fur pieces being produced by designers like Pierre Cardin during this time period. This was the beginning of the movement of treating fur more like a fabric and making coats that had far more style to them then the previous norm. I am no expert on furs but believe this it is Fitch. The color is a rich deep brown that has an undertone ranging from a soft taupe to a creamy ivory. The fur is supple, shiny and very soft. The fur is set in horizontal rows with bands of a black suede in between. It is cut in a classic sixties cut that flares out as it reaches the bottom hem. The sleeves are incredible and each widens out to a flare finish at the cuff. It does up with hooks at the front and the collar is deep and rounded. Pockets sit along the edge of one of the rows at each hip. It has been properly stored and cared for and appears to have been worn very little if at all. No splitting, issues or shedding. Excellent condition with a minor note below to review.

Fully lined in a deep brown silky rayon and closes with the fur hooks down the front. Pockets on each hip. I see no bald spots or shedding, the pelts are supple and soft. There is slight wear at some of the common points - near the hooks and the edges of the sleeves, but it is very minor. The fur has no odd odor, is still supple and is stable with no signs of any shedding that would indicate that it is breaking down.

Sleeves: 26"
Shoulders: 15.5"
Bust: to 17.5" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: open
Length: 42" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# C534

Reference Photos: (1) Model in Pierre Cardin, 1966.  /  (2) Hiroko Matsumoto photographed in a white fur coat by Pierre Cardin, 1966.

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 am very pleased to have a collection of Bill Blass pieces from a woman who was a close personal friend of Mr. Blass for many years. Many of these pieces were custom made or tweaked specifically for her and all of them are in wonderful condition. These are rare and hard to find examples of his work from the late 1970s and into the 1980s. Some may be the only version of the design, colour or print that was made. The family would also like it to be known that their portion of the proceeds from each sale will be donated to charity.

This gorgeous printed ball gown skirt and silk top set is a wonderful example of the work that Blass was doing in this time period. We were able to date it exactly with a family photo that my client has. The skirt is made out of a fine silk taffeta that is printed with gorgeous ever-sized floral print. The silk has been dyed to a soft golden tone and then the flowers are screened onto that in a mix of soft pastels with pops of purple that pick up on the purple of the top. It comes with a wide silk band that wraps around the waist. The band is finished in a soft earthy burgundy. Circling the very bottom of the hem is a wide strip of a copper silk satin. The skirt is very full and I have not used any crinolines under the skirt for these shots. The fullness that you see is created through the way it is cut and seamed which is incredible. The choice of the silk taffeta also helps it to hold the shape while still keeping it very light in weight. The top is a light silk that has a slight texture running through it. It is made with elastic all through the neckline so that you can wear it on, or fully off, the shoulders. More elastic is used at the waist which makes it insanely comfortable to wear. I love that you can wear it tucked in, loose and easy, or with the belt to really cinch it in. Each sleeve is cut to be very full with lots of volume. Having the three pieces makes it so versatile as you can wear it all together for the full Blass look, or mix and match with modern pieces from your wardrobe. It is beautifully made and wonderfully extravagant. Excellent condition with one small note below

Both pieces are unlined. The skirt closes with a metal and nylon zipper and a flat hook & eye at the waist. The skirt has some very slight marks along the hem. I photoed the worst area but there are some more. You really don't notice them once it is one due to the volume. Please review the photo after the label shot. The top slips on with elastic through the neckline and shoulders. There is also elastic around the waist and each cuff. The waist band closes with hook and eye.

Top
Sleeves: approx 26"
Bust: 20-21" flat across from side seam to side seam
Waist: 12-21" flat across from side seam to side seam
Length: approx 23"

Skirt
Waist: 14" flat across from side seam to side seam
Hips: open
Length: 46.5" from waist to hem
Matching cummerbund: 30" from end to end

Modern Sizing Equivalent: SML-MED

Item# DD3263

Reference Photo: Cherie, Owner of Shrimpton Couture.

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

This dress beautifully combines several textures to work together wonderfully. It also wonderfully showcases the genius of Mr. de la Renta's work and attention to detail. The dress has a beautiful elegance to it and is quite striking. This sense of refinement is a constant in Oscar's work and I particularly love the earlier examples of it. You can see how many of the elements you see here carried through his entire career and body of work.

The dress is made from a sheer black silk chiffon with a built in under dress done in a light, fine silk chiffon. This gives it a touch of sheerness and allows the design that runs over the chiffon to have more if an impact. That pattern is made from a combination of two velvet's fused to the underlying silk chiffon. One is a coppery brown with no metallic sheen to it and the other a full on metallic velvet that gives the entire dress its subtle glint. Each sleeve is left unlined for a touch more transparency. These are both full and poufed above their cuffs and add a touch of high drama. The bodice is cut in a low V at the front and I love the little high cap detailing at the top of each shoulder. The skirt falls to the floor and comes in more as it nears the hem for a lean silhouette. A high slot runs up the center front for a flash of leg and ease to walk in it. It is a beautiful example of his work during this time period. Excellent condition.

Fully lined with an inner built in bodice made of a nude and black silk chiffon and a black chiffon through the skirt. The sleeves are left unlined. The inner dress lining closes at the back with a hand set, painted metal zipper. The outer fabric snaps and hooks over that to conceal the zipper. Each cuff closes with a hidden set snap. Tiny padding in each shoulder  - just enough to support that little cap. A long slit up the front that is 21" up from the hem. Hand finished throughout. It looks to have been worn very little if at all

Sleeves: 24.5"
Shoulders: at inset seam approx 13" and to where shoulders sit - approx 15"
Inner bust: to 17" flat across from side seam to side seam
Waist: to 14.5" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Bodice: approx 16" from top of shoulder to waist and will blouse up a bit over the seam so sits at about 15"
Skirt: 41" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3166

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 held this in my archives for several years now and I think that it is a stunning example of the fur pieces being produced at this point in Dior's history. I am no expert on furs but believe this it is mink. The color is a rich deep chocolate that is so dark that at first glance it almost appears to be a black. The fur is supple and soft and very shiny. It is applied on to the coat in series of matching rectangles that each measure approx 5" x 7" and you get a bit of a border where each fur piece meets another. This gives the coat an added bit of texture and a subtle pattern. It is cut in an almost trench coat style with a more structured, flared bottom to it then a soft trench would have. Big, unusual silver buttons run in a double row down the front. Slanted slit pockets sit on each hip and and it has its original matching tie belt that you can cinch to give the coat shape. The sleeves are cut straight and full and the collar is a classic notched wide collar.  It has been properly stored and cared for and appears to have been worn very little if at all. No splitting, issues or shedding. Excellent condition with a minor note below to review.

Fully lined in a black silky satin and closes with the buttons down the front and has an attached tie inside. Slip pockets on each hip and one hidden along the inside edge at the front. Matching tie belt. I see no bald spots or shedding, the pelts are supple, soft and shiny. there is slight wear at some of the common points - edges of the sleeves. the inner edge, but it is very minor. For a vintage fur from such an important designer, I still rate this as near excellent. The fur has no odd odor, is still supple and is stable with no signs of excessive shedding that would indicate that it is breaking down. 

Sleeves: 24"
Shoulders: 15.5"
Bust: to 20" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: 21" flat across from side seam to side seam
Length: 44" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# C484

I have a small collection of historically important, key designer labelled vintage furs, fur trimmed & feather 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. All fur coats, fur trimmed & feather pieces are final sale

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 Givenchy Haute Couture dress is as chic and wearable now as it was when first made. It is entirely finished by hand and would have been made under the direct supervision of Hubert de Givenchy himself. Haute Couture is the very pinnacle of the fashion experience and this is a wonderful example of his work.

The dress is a stunning affair made of a brown silk chiffon that has dots covering its surface. Each dot is made form a metallic lame thread woven through the silk and these vary in color from gold, to silver to copper.  This gives the dress a beautiful glow in the light as you move. The construction details are wonderful. The bodice has been pleated by hand to create a series of vertical pleats that run down the center of the dress at the front and the back. On the sides of the dress the fabric is left unpleated and this small detail adds tremendous texture to the dress. The shape is loose and easy so it can be worn by almost any body type. You could also add a belt to change the shape if you wished. It falls to the hem in a column of light silk. The sleeves are soft and full above their buttoned cuffs and the collar is accented with a squared off mink fur collar. No shortcut was taken in the construction and it is a stand out piece. Proper Haute Couture label and numbered tape. Excellent condition.

The dress is lined in a hand set brown silk with the sleeves unlined. It closes on the interior silk lining with a hidden hand set, painted metal zipper that is hidden under the edge of the pleats at the back. The sleeves button to close.  Finished to Haute Couture standards and entirely done by hand. Haute Couture tape label #59349

Sleeves:  approx 25-26" but there is no set shoulder seam
Shoulders: approx 15" but there is no set shoulder seam
Bust: to 17" flat across from side seam to side seam
Inner lining waist: to 17" flat across from side seam to side seam
Inner lining hips: to 21" flat across from side seam to side seam
Length: 51" from top of shoulder to hem

Modern Sizing Equivalent: XS-SML, maybe a MED if the bust works

Item# DD2936

I have a small collection of historically important, key designer labelled vintage furs, fur trimmed & feather 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. All fur coats, fur trimmed & feather pieces are final sale

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 Char label is one of the best of the hand made leather goods labels from the sixties and seventies. It has a cult like following because of the quality and sheer fabulousness of their pieces. This skirt is wonderful and an excellent example of their work. They hand-dyed their textiles using colors that instantly make you think of the desert and they loved to use a combination of suede, leather and deer skin that they hand cut and whip-stitched into place. Here they have made a fabulous wrap skirt that has a wonderful patchwork landscape scene that goes all the way around the entire skirt. Char made these pieces, by hand from approx 1968 to about 1975-76 in Mexico. Some of the best leather craftsman in the world were there at the time and the piece made are fantastic. A really unusual piece. Excellent condition

Unlined, hand made and whip-stitched. It closes with a combination of hook & eye and leather ties. You could easily adjust the hooks and ties to fit a variety of sizes. I have given the measurements of the back seam to seam but you can easily go up or down a couple inches in either direction. It shows normal patina for leather of this age with the occasional scuff and wear that just adds to its authentic vintage feel.

Waist: 12" (variable with ties)
Hips: 18" (variable with ties)
Length: 22" from waist to hem

Modern Sizing Equivalent: XS-MED

Item# S791

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