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 dates to the period between 1972 and 1975 and it is just exceptional. He really did mix colour and print like no other and I think this is a stunning example of his work. I love when I find great examples of this label from this time period. 

This Lanvin dress is gorgeous. I am in absolute love with it. The dress has a very unusual but gorgeous colour and print combination. The wool challis fabric it is made of is light in weight and holds colour exceptionally well. The colors are still crisp, bright and true. The dress has little cap sleeves and the neckline plunges into a V at the front and crosses over itself. The main print on the bodice is of florals and then that is edged with a striped pattern at the back and front. It zips down the back and I think it's amazing how the pattern at the back has been set so that it doesn't break in an awkward kind of way. The waist is cut with a loose and easy cut and on each side of the waist are attached ties that you can use to cinch it in a bit. Since they are attached at the sides you can tie them at the front as I have or at the back. The ties are printed with the floral print on one side and the stripes on the other. From under the waist the skirt falls to the floor and it widens as it nears the hem. A wide panel of the floral print runs down the center and around the hem. The rest of the skirt is a white dot on a soft brown backdrop. This is all achieved by the print having been screened onto the fabric and not pieced together. Which means that it was all pre-planned and figured out and that each dress made would have had to have been cut out specifically so that the design sits right over the dress. Incredible. The pattern that runs over the entire dress is spectacular and it is an instantly recognizable piece of his work. Rarely do you see someone able to mix stripes, floral and dots all on one piece and have it somehow work and be as beautiful as this piece is. Excellent condition

Unlined and closes with a back painted metal zipper. Attached ties at the waist as described above. It appears to have been worn very little if at all.

Sleeves: 11" around the ends and 9" long
Shoulder: 15"
Bust: 18-19" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: open
Bodice: 15" from neck to waist
Skirt: 42.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3962

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

Hubert de Givenchy moved to Paris in 1942 where he worked for Jacques Fath, then Elsa Schiaparelli, and eventually Cristobal Balenciaga. Givenchy often attributed much of his later success to the years with to Mr Balenciaga and what he learned while there. In 1952, Givenchy founded his namesake house in Paris and quickly rose to fame as one of the great couturiers of our time. I am always pleased to find any of his Couture work as it is rare and this particular dress is exceptional with every detail on it finished to Haute Couture standards.

The dress is made from a fine silk chiffon in a dark brown colour. Worked through the chiffon are metallic dots that are made from several hues of metallic threads ranging from gold, silver and copper. These catch the light as you move and give the silk a real sense of movement as the light plays over the metallic bits and they move in and out of the pleats that dress is done in. It is really an amazing effect. The dress is immaculately made. Down the center of the front and the back is a panel of the fabric that has been hand pleated in a series of sharp little knife pleats softened by the lightness of the fabric. This creates a series of vertical pleats that add detailing and also give the dress more movement. The sides have no pleat work and this is a clever way for the dress not to swing out so much that you lose all shape. When worn without a belt the shape is loose and easy. I have added a grosgrain ribbon to give it some shape and you can see how much that simple addition changes the look of the dress. The sleeves billow out above their buttoned cuffs. The neckline is cut wide across the shoulder and it is accented with a mink fur collar. The dress is made to couture standards with all the inner seams finished by hand. I have included a shot of one of the inner seams for you to see. It is extraordinary and the kind of quality and beauty that you will only find with vintage. It appears to have been worn very little if at all. Excellent condition with one note below

The dress is lined in a hand set fine brown silk. The sleeves are unlined so have a touch of transparency to them. 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 exterior layer snaps into place over that. Each cuff of the sleeves button to close. The ribbon is not original to the dress bit will be included. Finished to Haute Couture standards and entirely done by hand. Haute Couture tape label is present and numbered #59349. The easy cut should work on a range of sizes

Note that you could switch out the fur for a faux or even have it removed and the edge finished underneath of the fur bothered you and then just keep the fur stored for archiving purposes.

Sleeves: 26" but there is no set shoulder seam
Shoulders: no true seam
Inner bust: to 17" flat across from side seam to side seam
Inner lining waist: to 18" flat across from side seam to side seam
Inner lining hips: to 22" flat across from side seam to side seam
Length: 51" from top of shoulder to hem

Modern Sizing Equivalent: XS-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.

This is a gorgeous Valentino dress whose twin walked the Fall 2002 runway on the amazing Bridget Hall. It is beautifully made and a wonderful example of Valentino's work for his main line during this time period. It also has the added provenance of having been worn by Actress Katja Herbers to the 2022 Critic's Choice Awards where she was nominated for Best Actress in a Drama Series for her work in the show Evil. The dress is exceptional and you only have to take one look at Katya in the dress to see just how fabulous this is on an actual body

This is an incredible dress. I love its bareness at the top with the full open back and the low front plunge. It is a little sexier then some of his work tends so be but it still manages to feel elegant and refined. It is a dress that really comes alive on the body. It is very light and easy to wear despite its thousands of sequins. It is cut to perfectly fit and skim over the body. It is made from a lightweight bias cut silk net that is covered in thousand of little copper sequins in two sizes. Mixed in with the sequins are tiny little metallic flower shaped sequins in a slightly different copper colour. The bodice is cut into a halter with tiny little straps that curve up and over the shoulders. At the back the straps cross over your bare back which then dips into a low curve across the small of your back. This leaves the back almost completely bare. The front is equally as bare. The halter covers the breasts and then plunges low. There is no seam at the waist  to break the line of the eye. The bias cut of the fabric simply curves it in and creates shape. Under that the skirt flows to the floor and gradually widens out as it nears the hem. It is wider then it feels standing still and I love the way that the skirt cut a little longer at the back to give the feel of a slight train there. The  dress is lined with a nude silk that is set by hand around the bodice and back and then falls to the floor to meet the hem of the outer layer. The combination of the silk net and the fine silk lining keeps the dress wonderfully light. At the hem the solid covering of the sequin changes to this round medallion feeling pattern and there the sequins are set more on their sides at the middle of each medallion and then burst out from there to form the circle that you see. It is a beautiful example of Mr Valentino's work with the added bonus of its recent red carpet provenance. Excellent condition with a minor note below

Fully interlined in a nude silk and closes with a low set hidden zipper at the base of the scoop at the back. Hand finishes throughout. There are some missing sequins near a side seam, some near one medallion at the hem and along the back straps. There is a small part of the hem that is missing its edge. I see a tiny mark in the inner lining and very evidence of lipstick on the inner lining. Please see the photos after the label shot. It was worn on the red carpet exactly as it is so these small flaws obviously have no impact when worn

Bust: each halter is 6" across at its widest point
Waist: 14" flat across from side seam to side seam
Hips: 17.5" flat across from side seam to side seam
Length: 63" from top of shoulder to front hem, 68" to back hem

Modern Sizing Equivalent: SML-MED

Item# DD3933

Reference Photos/Videos: (1-3) Fall 2002 Valentino Runway. Look 53 worn by Bridget Hall.  /  (4-6) Katja Herbers in Valentino at the Critics Choice Awards, 2022.

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 Oscar de la Renta dress is incredible. It dates to the late 1970s - early 1980s and it has the bit of a bohemian vibe to it that is heavenly. The color is a soft taupe that has a gold metallic thread worked through the silk. It has this tiny and intricate pattern that is printed onto the silk and done in rows. He used this to give the bodice and skirt some contrast by setting the bodice and sleeves with the rows on the vertical and the skirt on the horizontal. The silk is feather light in weight and just floats beautifully over the body once on. It will softly move with the slightest breeze or movement on your part. The dress comes with an inner separate dress made from a nude colour silk chiffon. The outer dress just slips on over that. The outer dress is cut with extreme volume and if you choose to wear it as is it has this fabulous easy feel. It comes with its original extra long sash that you can use to cinch in the waist and dramatically change the way the dress looks and sits on you. The sash is made of the same silk chiffon and has gold fringe at each end. You could probably also wear this belt as a neck or head piece and leave everything else loose and easy. The neckline has a small neat collar and it buttons to close. The bodice of the top is cut to be very loose and full. Each sleeve is also full and billows out above a ruffled cuff. The waist is dropped and then skirt falls to the floor under that. I took a photo of the dress without the sash as well so you can see how full it can look. Wearing it that way really plays on its bohemian caftan feel. And I love that because the inner slip is separate if you needed more or less room underneath you can just sub it out for a slip that fits you. It makes the dress extremely versatile size wise and it should work on a range of sizes keeping that in mind. It a just gorgeous and even better in person as you get more of a sense of the gold that runs through the fabric. It appears to have been worn very little if at all. Excellent condition

The inner silk chiffon dress acts as the lining. The outer dress slips on to wear and has buttons partway down the front. The inner dress closes with a back zipper. The cuffs have elastic above the ruffle. I have put a range of sizing based on the fact that you could sub out the inner slip for one lager or smaller if needed but make sure the shoulders will work.

Outer Dress
Sleeves: 26"
Shoulders: 14.5"
Bust: 20" flat across from side seam to side seam
Waist: 21" flat across from side seam to side seam
Seam at hips: 23" flat across from side seam to side seam
Dropped bodice: 24" from neck to low waist seam
Skirt: 34" from low waist to hem
Total Length: 58" from neck to hem

Inner slip
Bust: 18" 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: 52" from shoulder to front hem, 54" to back hem

Sash: 17" wide x 110" long including fringe

Modern Sizing Equivalent: XS-LRG

Item# DD3929

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

I love Josefa caftans and have covered the history of the label a couple of times in my instagram (go peek one day). They are like owning a piece of wearable art. Every single one of them 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. I love this one and it is a little extra interesting as I have sold its twin in a blue version in the past.

This one is a gorgeous example of her work. The cotton is crisp and fresh feeling still and has been hand dyed to a beautiful deep brown colour with lighter natural linen colour accents. It has hand done embroidery work at the front neck and down the front. Piping in the lighter colour defines the neckline and sleeves. The sleeves are incredible. Each ends in a huge flare and those flares are actually a full circle of fabric. This gives them incredible volume and movement. The skirt also flares out and its volume is achieved through the lighter coloured inserts that are set in long inverted triangles of fabric. The lighter inserts and embroidery perfectly compliment each other. It is cut to sit slightly more fitted through 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. It is easy to wear and a great statement piece Excellent condition

Unlined and closes with a back metal zipper. The fabric has natural variations in it. It looks to have been worn very little if at all. The colour in person is slightly lighter then how it photoed in some of the shots. It's even better in person I think. The loose cut will allow it to fit a range of sizes.

Sleeves: 23"
Shoulders: 16"
Bust: 19.5" flat across from side seam to side seam
Waist: to 19" flat across from side seam to side seam
Hips: to 24" flat across from side seam to side seam
Length: 59" from neck to hem

Modern Sizing Equivalent: SML-LRGD

Item# DD3876

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

Richard Tyler was the designer to wear in the 1990s and early 2000s. He won the Council of Fashion Designers of America New Talent award in 1993. In 1994 and 1995 he won the Council's Womenswear Designer of the Year award. Julia Roberts, Janet Jackson, and Sigourney Weaver were just a few of the stars who loved his work and his dresses made regular appearances on the red carpet. He was known for his impeccable tailoring and finishes and at the time employed some of the best tailor and seamstresses in the business. 

This dress is fabulous and I love having its full provenance to share with you. It made its debut on the Fall 2004 runway. That version did not have the bead work across the back. Then Marcia Cross was nominated for Best Performance in a Television Series, Musical or Comedy, for her role as Bree Van Kamp in Desperate Housewives. The series itself was also nominated for Best Television Series, Musical or Comedy, which they won. She had Richard custom make this dress for her and it was fitted with more inner structure and had the bead work added across the back. The dress was later auctioned off in a charity auction which is where my client obtained it. 

The dress is made from a printed velvet in a deep chocolate and is completely cut on the bias. The flowers are a muted copper gold tone and they catch the light beautifully as you move. It is incredibly soft and drapes like a dream. The front plunges low to just under the bust. Each cup softly drapes over the inner structure and then curves up and over the shoulders. It is set wide across so you see the collar bones and it creates a lovely line. Under the waist the velvet is gathered and that band of gathering is set on a curve that comes out from the waist and curves up to meet the plunge. The dress then skims over the waist under that and then flares out and widens as it nears the hem. The back is caught up just below the neck with a button and then it drapes over the back to the waist leaving a bare expanse of skin showing in the opening between. There is a beaded panel that goes across the back that holds everything place and adds a pretty detailing. This dips right to the waist and then the skirt falls to the floor and extends well past to create the dramatic trained effect that you see. My client did not end up ever wearing it so it only would have been worn the one time on the red carpet and for the charity auction. It is amazing and a wonderful piece of award show history. Excellent condition 

Fllu lined in a bias cut silk and has a built in inner bodice for support. The dress has no tags as it was custom made for Marcia. It closes with a hidden set side zipper and the inner bra hooks to close attaching to the beaded strap across the back. You could switch out the inner bra for a larger one if needed

Bust: the strap of the inner bra will go from 28" to 31" and the cups are about an A-B I think. Without the bra the bust is approx x 18'5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 64" from top of shoulder to front hem, 90" to the longest point of the back 

Modern Sizing Equivalent: SML-MED

Item# DD3877

Reference Photos/Video: (1-3) Fall 2004 Richard Tyler Runway Collection.  /  (4) A model wearing Richard Tyler walks the runway at the Fashion Forward Fundraiser in LA, June 2004.  /  (5-9) Marcia Cross, in Richard Tyler, at the Golden Globe Awards, 2005.

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 Oscar de La Renta boutique label first appeared in 1967 which makes this dress from one of his very earliest collections for this line. His boutique label is important as is marked the first ready-to-wear line for a Seventh Avenue designer to be launched. These early pieces have lots of hand finishes and are just stunning example of his work during these early days of his career. 

I love this dress. It is made out of a gorgeous deep brown velvet that gives it a really beautiful texture. The velvet has a flat pile and there is a bit of a vertical texture worked into it that helps add length when you have it on. It is a really stunning detail. To contrast this and give the dress a touch of a metallic feel Oscar then added a wide silver and gold metal thread panel of ribbon to follow the notched neckline. This panel of fabric runs down each side of the neckline and then circles around the collar. That same metallic fabric is used to cover the edges of the matching belt. The belt is fabulous in its own right. It is cut wide and then peaks where it meets in the middle. To close it, it has a long matching velvet tie that loops through the brass coloured grommets and then laces up as tight as you wish. The fabric of the dress is light in weight so that the dress is very easy to wear. It has long sleeves and each sleeve poufs out over the cuff. The cuffs are done in the same metallic fabric to pick up on the belt and neckline. Each is also slit down the sides so you see part of your arm. Very unusual and very chic once on. The skirt cascades to the floor gently widening out as it nears the hem. And it has pockets. It is really a gorgeous dress and very well made. Excellent condition with a minor note below.

Fully lined in a brown silky rayon. Closes with a back zipper and a hook at the top of the neck. Each cuff snaps to close. The inner back of the belt has stiffened a bit and it was stored folded. This does not effect the front at all but you see the fold lines on the back. 

Sleeves: 24"
Shoulders: 15"
Bust: 18.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: to 24" flat across from side seam to side seam
Bodice: 15" from top of bodice to centre of band at waist
Skirt: 41.5" from centre of band at waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3878

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

Vogue's review of this collection was done by Hamish Bowles who said in part; "With their ironed hair, pale lips, and exaggerated doe-eye makeup, the leggy girls on Karl Lagerfeld's Chanel runway were channeling Penelope Tree, the iconic and kooky sixties model. With a major Chanel retrospective opening in May at the Metropolitan Museum of Art's Costume Institute, Lagerfeld also delved into Coco Chanel's history—specifically a 1920's liaison with the Duke of Westminster that saw her borrowing knits and tweedy pieces from his chic country wardrobe. Lagerfeld feminized his layered cardigan and plus fours with scarves twinkling with diamond camellias and topped them with adorable newsboy caps, knit cloches, or floppy berets." I love the nod to the tweed that the pieces had and the kicky skirts like this one are perfect to pair with a great boot. 

The suit is constructed from an absolutely stunning metallic tweed version of the Chanel signature fabric. The fabric combines a silk thread with mohair and a gold metal thread that he has worked through the entire suit. This gives it an exceptional but subtle sheen and a very luxurious feel. It is absolutely beautiful. To heighten that sense of luxury Karl added a rabbit fur trim to the jacket. The fur has been set to run down the front edges, curve around the back and then also circle the hem. It also details each cuff and the pockets. The jacket is cut in that classic Chanel box shape. The sleeves are long and I love the pockets that sit on each side. It hooks to close down the front with hidden set hook & eye so there is nothing to break the line. The skirt is cut with a slight flare as it nears the hem. It is set all the way around with series of wide flat pleats, giving that nod to the schoolgirl and the sixties the show was based on. The upper part of the skirt is more fitted around the hips and then it opens up to create the beautiful lines that you see. The entire suit is lined in the highest quality camellia flower embossed black silk. This is classic Chanel right down to the chain stitched by hand into the hem of the jacket. It is exceptional. Excellent condition.

Both pieces are fully lined in a black silk embossed with the Chanel camellia flower print. The interior hem of the jacket is finished with one of their signature metal chains. The skirt closes with a hidden set zipper. The jacket hooks to close down the front. Pockets on the jacket and the skirt. The colour and texture are even better in person. Both pieces are tagged a Chanel 40. There is the slightest bit of pilling to the silk on the interior of the jacket from rubbing against the skirt when it was stored. 

And just a note on their fabrics.... The Chanel boucle and tweeds are 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: 25"
Shoulders: 15"
Bust: 19.5" flat across from side seam to side seam
Waist: 18.5" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 20" from neck to hem

Skirt
Waist: 15" flat across from side seam to side seam
Hips: 20.5" flat across from side seam to side seam
Length: 22" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3854

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 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.

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.

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.