This Roberto Cavalli dress is from a more recent collection and it is the kind of dress that you slip on when you want to make a statement. It is an easy-to-wear dress and very flattering once on the body. The stretch jersey fabric and chic leopard print are the perfect combination. The lines are simple and it has that perfectly easy but sexy feel. You literally just slip this over your head and done. Once it is on, it moves with you and highlights your curves. The dress has a high neckline and long sleeves. Each sleeve widens out as it near it's end. You are fully covered at the front but then when you turn there is a large open cut out at the back for an expanse of bare skin to show. It skims over your waist and hips and then falls to the floor in a column of jersey. On one side of the skirt there is a high scooped out slit that allows almost the full leg to show as you walk or move. It is one of the dresses that you just slip into and walk out feeling like a million bucks. The leopard print acts like a neutral in many ways and you can pair just about any colour with this to change up the look of it. It is an amazing print that works on almost any skin tone. Very sexy on. Excellent condition

Unlined slips on to wear with no closures. Tagged a Cavalli 38. The fabric has stretch and the measurements below are the comfortable range of that stretch when it's laying flat. It appears to have been worn very little if at all.

Sleeves: 28.5"
Shoulders: 15"
Bust: 15-20" flat across from side seam to side seam
Waist: 12-16" flat across from side seam to side seam
Hips: 16-20" flat across from side seam to side seam
Total length: 62" from top of shoulder to hem
Slit: 32" from hem up

Modern Sizing Equivalent: XS-MED

Item# DD4832

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

The wrap dresses and jumpsuits by Diane Von Furstenberg have become an iconic staple and this is one of the originals. Diane moved to New York with her husband, Prince Eduard Egon Von Furstenberg in 1969. She had design aspirations and in 1970 showed her first collection. It was in 1972 that she first debuted her now-iconic 'wrap dress' for the working woman, revolutionizing American women's apparel. By 1976, she had sold 5 million wrap dresses, landed covers of Newsweek and The Wall Street Journal and was a regular within the pages of Vogue. This is an early and rare jumpsuit from the Fall of 1975. The runway pics we found allowed us to identify the print and it shows you similar pieces on the body. We also added some reference photos from 1976 of similar pieces so you can see how her jumpsuits fit. Plus Farrah!

Girls bought these jumpsuits in droves and wore them to travel, dance in, and pretty much everything else. You do see Diane's dress versions of these pieces from this time period pop up more often then the jumpsuits do but I am always on the lookout for her jumpsuits. They are harder to find but worth the hunt. This one, with its graphic print in soft taupes and ivory wonderful. The print is screened onto a soft stretch jersey that has the feel of a modern super soft T-short but thicker. The design covers the jumpsuit from head to toe. It has long, lean lines and makes you look and feel supermodel tall in it. The colour is high, but the front is a zip so you can wear it zipped all the way up or as low as you dare. Each sleeve is long and has a buttoned cuff at its end. I love the two flap and buttoned tops at pockets that sit on each side of the bodice. The waist is seemed and you can wear it as is so it has a bit more of a loose and easy feel or add a belt if you want it to be really cinched in. From there the legs are cut straight and long with the slightest bit of flair by the time they reached hem. The final result is one long, lean, supermodel silhouette. Excellent condition.

The jumpsuit is unlined, slips on and then has a front zipper to close. The fabric is a soft jersey that has an almost heavy T-shirt feeling finish to it. The fabric does have some stretch and the measurements below are the comfortable stretch when laying flat. It appears to have been worn very little if at all.

Sleeve: 24"
Shoulder: 15"
Bust: to approx 18" flat across from side seam to side seam and can be adjusted
Waist: 12-14.5" flat across from side seam to side seam
Hips: to approx 20" flat across from side seam to side seam
Torso: 31" from top of shoulder to top of inseam
Length: 63" from shoulder to hem
Inseam: 35.5"

Modern Sizing Equivalent: XS-SML

Item# DD4834

Reference Photos: (1-3) Fall 1975 Diane Von Furstenberg.  /  (4) Diane Von Furstenberg Ad in Vogue US, April 1976.  /  (5) Farrah Fawcett in DVF, 1976.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

John Galliano began his own label in 1984 and he was instantly a bit of a 'boy wonder' in fashion. He was British Fashion Council Designer of the Year in 1987, 1994 and 1995. In 1991 he made his Paris catwalk debut. In 1995 he was asked to head Givenchy and then went to Dior in October of 1996. Unlike many designers he kept his own label going as well throughout the years at both those houses. His work, especially the bias cut pieces that he did, have a feeling of the decadence and abandonment of the twenties and they are beautifully cut. They marry Old Hollywood with the minimalist spirit of the nineties and early 2000s and the results are stunning. This is an amazing example of his work from the Spring 2000 season and it is gorgeous. This dress was a piece made for production for retail but it has all the things we love about his work presented in a beautifully chic and minimalist package.

The dress is gorgeous. It definitely takes inspiration from the bias cut couture pieces of the 20s and 30s. The seam work and simplicity of this dress is stunning to see and it is even better on an actual body. It is made from a beautiful silk that has a matte satin finish. The colour is like a deep pewter silver with a touch of a taupe brown undertone to it. It has that same light in weight feel that the best of the 1930s pieces did that were made from similar fabrics. Like those liquid dresses of the thirties this is also completely cut on the bias. It is cut to flow over the body and skim its way over the bust, waist and hips as it falls to the floor. The dress falls from straps that curve up and over each shoulder. The straps have their own detail that I love. Each one is a double strap that is stitched together at the top of the shoulder, crosses over themselves, and then are attached to the dress with a round disk made out of the same fabric that has been piped and stitched into a circle. He has added this detail to the front and to the back of each strap. The neckline comes down into a V and it does the same thing at the back for a pretty exposure of skin. I love how the V of the neckline picks up with the V shapes created within each strap. It skims over the bodice with no seam at the waist on the front of the dress. At the back there is a low set angled seam that gives a bit of shape through the lower back. The skirt flows down to the floor, skimming over the hips and then flaring out as it reaches the hem. The flaring shape is achieved by the bias cut of the fabric rather then extensive seaming. This gives you some pretty movement around the lower skirt when you walk or move. It also adds to the hourglass shape the dress has. It is all done so that it sits in a certain way on your hips and then that in turn affects how the entire dress sits on your body. The dress comes with its matching shawl piece that is equally incredible. It is 26" at its widest point and just over 8 feet long. At each end, the fabric is gathered into one of those circular piped discs that you see on the base of the shoulder straps, and then they are finished with a beautiful 7 1/2" tasselled fringe. You can simply drape this over your shoulders and it adds that perfect touch for when you make your entrance in the dress. It becomes an integral design detail in itself. It is these subtle little details that Galliano put into his dresses that make them heads above other pieces. The dress is spectacular. Excellent condition.

Unlined and slips over the head to wear with no true closures. Tagged a Galliano FR42, GB14, US8. The bias cut fabric does have some stretch. The measurements below give you the comfortable range the fabric has when lying flat. The bias cut should allow it to fit a range of sizes

Bust: 17-21" flat across from side seam to side seam
Dropped waist: 14-17.5" flat across from side seam to side seam
Hips: 18-21" flat across from side seam to side seam
Total length: 60" from the top of the shoulder to hem
Shawl 26"w x 100" long end to end and including the tassels

Modern Sizing Equivalent: XS-MED

Item# DD4814 

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This is a spectacular and rare dress from the Fall 2004 McQueen show and its twin walked the runway that season. On the runway it was shown with a sash wrapped around the hips and you could easily replicate this if you wished. It is equally as good on its own. The runway pieces were not produced in significant numbers and were often only found at the flagship stores in very limited quantities. For this collection McQueen was quoted as saying that he wanted to 'strip away all theatrics and focus purely on design'. The colours in the show focused on a nude palette and these taupe pieces were a predominant element in the collection. He also kept the embellishments to the bare minimum throughout the collection and this dress showcases that nod towards simplicity. 

The dress is made from a very fine knit jersey that has a slight sheen to it. The seams are then either surged and top stitched, or have been covered and highlighted with a silk cording. This use of the seams as a way to create design details within the dress is a very McQueen feeling signature and it really highlights the cut of the piece. The neckline on the dress is a wide ribbed panel that has a lot of stretch available to it. You could wear it up and off the shoulders but it is best worn as shown on the runway, stretched and pulled down to leave the shoulders bare and exposed. The bodice is cut to skim over you and the sleeves are long. Each sleeve has some fullness above its 4" cuff. On the runway, they pulled the cuff up and inside so you just saw the part that blouses over and not the cuffs itself. A very clever styling trick. From there it continues past the hips to the floor. If you thought the way the seams have been detailed on the bodice is pretty, the skirt is magical. There are stacked side by side peaked panels whose tops sit at different heights around the entire skirt. Each has a touch of open cut work around their seams which gives the dress more depth and detail. This piecing of the side by side panels also allows the skirt to have more of a flare at its bottom. You can see how beautifully it moves in the runway video here. It is my understanding from my client that only a limited amount of these were produced. This is an iconic piece of McQueen's history. Excellent condition with a minor note below

Fully lined in an ivory stretch lingerie type fabric and slips over the head to wear. The knit jersey has stretch and the measurements below are the comfortable range when the dress is laying flat. I see a tiny area on the knit where it misses a stitch. Please see the photo after the label shot. Tagged a McQueen 38. Any change in colour you see is just the lighting. The stretch fabric should allow it to accommodate a variety of sizes.

Sleeves: 25"
Shoulders: variable
Bust: 17-21" flat across from side seam to side seam
Waist: 11.5-15" flat across from side seam to side seam
Hips: 17-22" flat across from side seam to side seam 
Total length: approx 60" from the top of the natural shoulder to hem

Modern Sizing Equivalent: XS-MED

Item# DD4816

Reference Photos/Video: Fall 2004 Alexander McQueen.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

I had a dress similar to this in the past and I think I love it even more this time around. It is a beautiful example of the genius of Mr. de la Renta's work and his attention to detail. It 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 these earlier examples of that aesthetic. You can see how many of the elements you see in pieces like this were carried forward through his entire body of work.

The dress is made from a sheer brown silk chiffon with a built in under-dress done in a lightweight brown silk chiffon. This gives the dress a touch of sheerness while keeping it wearable. It also allows the design that runs over the top layer of chiffon to have more of an impact because of that transparency on the top layer. The pattern on the outer fabric is made from bits of silk velvet that have been fused to the chiffon. The pattern this creates is scattered over the entire dress. The velvet buts themselves are quite fascinating. Depending on how the pile of the velvet is sitting, it looks to be either a deep charcoal grey or more taupe grey colour. Stitched in and around the velvet parts is a deep reddish copper metallic thread that gives the entire dress its subtle glint. The sleeves are incredible. They are unlined and they are incredibly full so that they pouf out above the cuffs. The bodice is cut to skim over you and then is brought in so that it blouses up and over the seam at the waist. The waist has elastic running through it so it is incredibly easy to wear. The skirt falls to the floor from there. The shape is fairly long and slim with just a touch of widening out at the hem for a lean silhouette. At the back there is an open keyhole from the hook at the back of the neck to the hooks that run up from the waist to cover the inner lining. I love this little unexpected and subtle flash of skin. It is a beautiful example of his work during this time period. Excellent condition.

Fully lined with an inner built in dress made of a nude and black silk chiffon stacked on top of each other. The sleeves are unlined. The inner dress closes at the back with a hand set snaps. The outer fabric snaps and hooks over that. Elastic through the waist and each cuff has elastic. Hand finished throughout. In its original uncut length. It looks to have been worn very little if at all

Sleeves: 26" and they are 26" around the upper arm
Shoulders: 15"
Inner bust: to 18" flat across from side seam to side seam
Elastic waist: 13-19" flat across from side seam to side seam
Hips: 18-22" flat across from side seam to side seam
Bodice: approx 16" from top of shoulder to waist. The elastic at the waist will let you wear it up or down a bit as needed.
Total length: 64" from top of shoulder to hem

Modern Sizing Equivalent: SML-LRG

Item# DD4764

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

James Galanos was just 27 years old when he launched his first label called Galanos Originals in 1951. By 1954 he had won a Coty award and the Neiman Marcus award. By 1958 he was producing clothing that could range in price from $200 to $3000, an astronomical price for ready-to-wear for that time period. when you convert that to modern dollars and realize that it would be just under 30k for his upper range pieces. Part of the reason for those high price tags was that his ready-to-wear was made to couture standards. Galanos pieces were all produced in very limited quantities in his workshops and his work was as close to couture construction that you could find outside of Paris. Grace Kelly was an early fan and other couturiers looked to his work as inspiration. His work is held in all of the major museums around the world and he is one of my personal favourite designers. 

This is one of my favourite pieces I have seen by Galanos and it is incredibly beautiful in person. The dress is made from a feather light silk and that choice of fabric is what gives it that bit of volume that you see through the skirt. I did not add any underskirts, the shape that you see is all created by the way the skirt is set in and around the waist and the lightness of the silk. Two piped blue silk straps curve up and over the shoulders. The neckline dips in a slight sweetheart at the front with the silk gathered and softly pleated all the way around the top of the bodice for detailing. The silk on the bodice is that same brilliant blue as the straps and it is softly gathered down the sides to the waist. The silk extends out past the waist seam into a edged ruffle that meets a ruffle underneath created by the extension of the silk of the skirt. I love the detailing there that this creates and that underneath the ruffle the waist seam is anchored with a gold braided cording. The skirt has been softly gathered all around the waist and then it open outwards to have the volume and fullness that you see. Four panels of silk have been pieced vertically together to construct the skirt. At the front you see  a deep green panel on one side and a slightly metallic feeling copper brown on the other. At the back both of the panels are the same beautiful blue as the bodice. All of the edges where the panels meet are finished with a hand applied metallic gold cord. Between the green and brown panel at the front the skirt is slit open between the cording so when you walk or move you get a flash of bare leg. The silk is so light  that when you love the skirt billows out around you. Incredible. Excellent condition  

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

Bust: 16" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: open
Bodice: 16" from top of shoulder to waist seam
Total length: 59" from waist to hem
Slit: 26" from hem up

Modern Sizing Equivalent: XS-SML

Item# DD3736

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

If you are a Hedi Slimane fan then you know that the Spring 2013 collection was his debut collection for Saint Laurent. Vogue said that he "hot-wired himself into the YSL legacy with Le Smoking, the mousselines, the pussy bows, the shot of animal spot, and that thing called Saharienne (which will always be Veruschka in Vogue. The tassels said Morocco—they also said Opium, à la Yves." It was a bevy of rock-chic couture and everything shown was about length of the body and a nod to the seventies. The twin of this dress was in the opening moments of the show for Look 4 and it was the first glimpse of his version of the YSL safari look. He took what is a house signature and elongated it in suede to fit his vision. It was one of his strongest pieces of the show.

I actually love this dress. I think it was a brilliant way to re-do an iconic look from YSL and make it his own. It also fully fits in with his love for long, lean length when it comes to his design aesthetic. The dress is made out of a soft supple suede in a classic deep neutral colour. It falls all the way to the floor and appears to be in its original uncut length. The collar is sharp and pointed and I love the straps on the top of each shoulder. He lightly padded the shoulders for a bit of added structure and the sleeves are long. Each sleeve ends in a corded lace up and I think this added detail works perfectly on this dress. You can see in the close-up shots from the runway that he wrapped these laces around the lower arm. At the front we see that same lace up cording run down to just past the waist. This is what makes the safari look so fantastic and add a touch of sexiness because you can see a bit of bare skin through the laces. On the front are four top set flap pockets that are another nod to this same detail on Yves' original design. It skims over the bust, waist and hips and then flares out quite a bit by the time it reaches the bottom hem. It comes with a matching suede belt for added shape and all of these elements add up to something that is both classic and fresh. It is one of my favourite dresses that he created from his time at YSL and this is a collectible future vintage piece. Excellent condition.

Unlined and closes with a side set zipper and then you can adjust the lower portion of the sleeves and the front with the laces that you see. The pockets snap to close and they are all functional. The belt is a simple suede wrap and tie belt. The suede has natural variations

Sleeves: 23.5" and 11" around the upper arm
Shoulders: 15"
Bust: 17" flat across from side seam to side seam and can be opened a bit more with the laces at the front
Waist: 15" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Bodice: 16" from neck to waist
Total length: 60" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4734

Reference Photos/Video: Spring 2013 Yves Saint Laurent, Look 4. Model Edie Campbell.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

I literally did the gasp when I saw this coat in person for the first time. Cavallie said at the time that the theme of this collection was "a modern fairy tale" and the pieces had a bit of a folky feel to them. The suedes were distressed, softened and made to look aged. The twin of this coat walked the runway for Look 5 and I love that we have reference photos from the runway and video so you can see how fantastic this on and it moves. Alek Wek is the model who walked in its twin and she was spectacular in it. This is a very special piece and one that was produced in extremely limited quantities and is an extremely rare thing to have acquired. On a modern note, none other than Beyonce just happen to have worn its twin, giving it full rock star royalty provenance. I am very pleased to have this in the shop. I feel like this is the best of the best of what Cavalli does and with a Beyonce stamp of approval it is that much better.

Even without the Beyonce provenance this is a killer coat. When my client purchased it, it was the only one being sold in the shop. These were made in extremely limited quantities and only available at very select locations. It is a very rare piece. The cut is fantastic. It has no collar and the front comes down into a V to the waist. There is a series of brass hooks that close it at the waist and then the skirt of the coat falls out around you. At the back the waist is brought in with a series of soft rounded vertical folds that extend above and below the waist area. This helps to give the volume that you see through the bottom of the coat and adds a stunning bit of detailing. The coat skims over the hips and widens as it nears the hem. Just below the knee there is an added panel of that same ultra soft suede. It is set over the suede above it so that it creates a little visual ruffle around its top and then it is gathered all the way around in soft folds to create that ruffle feel. The sleeves are long and each one ends in an eight inch cuff that picks up on that same silhouette as the lower skirting. The suede is a work of art in its own right. It is wonderfully soft and has been scuffed and aged so that it feels like something that existed for decades and decades. Florals have been cut out directly into the suede from top to bottom and this allows that amazing lining to show through. The lining is a combination of his signature leopard print with a coral pink painted feeling silk and you can see that lining through where all the cut outs are. The inside of this coat is almost as beautiful as the outside. They actually used cording to help support where they have gathered in the silk at the small of the back to create the rolls. The effect when you move and you see that flash of lining is fantastic and is the keystone to the entire design. The coat also comes with its original piped belt that you can wrap and tie around the waist for the perfect finishing detail. I can't rave enough about this coat. It is a literal work of art. Excellent condition with a small note below.

Fully lined in a printed silk that has the Cavalli signature worked into its pattern. Cording holds the back pleating in place and gives it structure. The suede is intentionally distressed and any marks on it, or on the silk, are there on purpose. The occasional edges of some of the suede flower detailing has lifted from the silk and again I believe this to be a purposeful part of the coat. I do see some minor stress to some of the silk on the inside seams. Please see the photo after the label shot. Tagged a Cavalli eight. Hand finishes

Sleeves: 22.75"
Shoulders: 15.5"
Bust: 19" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Hips: to 25" flat across from side seam to side seam
Total length: 60" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4732

Reference Photos/Video: (1-3) Spring 2002 Roberto Cavalli, Look 5. Model Alek Wek.  /  (4-6) Beyonce, June 2024.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This is without a doubt one of the most recognizable of pieces ever created during Tom Ford's tenure at Gucci. It's twin was Look 10 on the runway and we have included runway photos and video for you to see how beautifully this moves once on the body. In Vogue's review of the show they said that "This season every major designer is talking about creating a "beauty" strong enough to defy our anxious times. Backstage that was the word Tom Ford used to characterize his Fall collection for Gucci—a collection in which beauty was personified as a power vixen extravagantly armoured to face down a troubled world" The evening pieces were mentioned specifically "For evening, there were gowns constructed with cutout zones of sparkling mesh and frilled bra tops; others snaked to the floor, held in place with complex asymmetric straps crossing the torso and shoulders. If Ford is treading the territory mapped out by Thierry Mugler and Azzedine Alaïa in the ’80s, it’s no surprise. Much of fashion is heading in that direction >anyway, and Ford, after all, bases Gucci’s entire brand proposition on finding new ways of upping the ante on sex season after season." This is a dress from one of the most incredible eras of Gucci.

I love that this dress is the twin of the colour chosen to walk the runway and that it has it's corset belt that was sold separately. Usually when I see one of these for sale they do not have the matching corset or they are in the black colour that was sold and produced for the shops. From my understanding, this colour was only sold in some of the Gucci shops and was produced in lower quantities, making it more rare and special. The dress itself is stunning and this one is pristine. It is made out of a silk blend that allows the silk to stretch and give. The fabric is as light as air and that incredible stretch allows it to conform to your every curve and helps to create curves. The neckline is meant to sit lower on the chest and it sits wide across the front. You can see that on the runway. The sleeves are long and simple so that the seaming detail on the dress can stand out. The silk is gathered up and over the edge of the neckline in soft folds and then below that is the incredible seaming that shapes the dress around the body. The seam work that he did for his time at Gucci was an integral part of his design philosophy The seaming acted like embellishments, shaping the pieces and giving them added detailing. The waist is seamed and it curves down and over the hips with insets there to hold and emphasize the shape. The skirt falls under that, following the curve of the body with just a slight flare out at the back hem. At the back the seaming curves around from that waist area and curves underneath your bottom. The silk is gathered in along those curved seams to create ruching and there is a panel built inside where they meet just above the hem to give added structure and support. It is incredible. The corset goes over top of that and it is made out of a thick stretch fabric that has an almost neoprene feel to it. It velcro's into place at the front and then straps wrap around you and buckle into place to cinch you in. This is a true stand out piece from Tom Ford's reign at Gucci and it is also incredibly sexy. Excellent condition.

Unlined and closes at the back with a hidden set zipper. The belt has Velcro at the front and then buckles to close over that. Both pieces appear to have been worn very little if at all. The dress has its inner fabric tag with the Gucci name on it only. The belt is tagged a size 40. The fabric does have stretch and the measurements below are the comfortable range laying flat.

Dress
Sleeves: approx 28" and is 12-15" around the upper arm
Shoulders: no defined seams
Bust: 15-17.5" flat across from side seam to side seam
Waist: 12-15" flat across from side seam to side seam
Hips: 18-20" flat across from side seam to side seam
Total length: 40" from top of shoulder to front hem, 43" to the back hem

Corset Belt
6" high at its skinniest point and 9 inches at its widest
approx 26-3-" end to end 

Modern Sizing Equivalent: XS-MED

Item# DD4728

Reference Photos/Video: (1-3) Fall 2003 Gucci, Look 10. Model Mariacarla Boscono.  /  (4) Yasmine Warsame in Gucci for Amica Magazine, October 2003.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

A version of this 1973 coat in a different pattern is featured in one of the Biba books and you can see the same shape through the shoulder and sleeve. I have had this for many years now and it is a very hard piece to let go of. It really showcases her love for all things Art Deco and the cut of this coat is phenomenal. 1973 marked the year that the Big Biba store opened in a seven-story building on Kensington High Street. Every floor had its own theme with floors and millions of people visited.

This coat is absolutely wonderful. It has those fabulous Art Deco lines that Barbara Hulanicki excelled at and that so many of the best of her pieces reference. It is made out of a woven wool that creates a giant houndstooth pattern. The neutral colour combination of the taupe and black is so easy to mix and match with everything. The coat has some weight to it but feels balanced once on the body. I love that you can see the actual weave of the wool. This adds extra texture and dimension to the pattern. The coat falls beautifully once on. It has a single large flat metal hook at the front and then swings open under that. There is no collar, and it simply falls into a V to that hook and then carries on to the hem. It is more fitted through the shoulders and then falls outwards with all of the volume created by the way the fabric has been cut and pieced together. The shoulders and sleeves are spectacular. Each shoulder is set with a high capped and rounded cut. This was something that Hulanicki became known for and pieces with this cut are among the most coveted. The sleeves are equally as fabulous. They are cut wide and full and then the ends flip over to create that huge 7" cuff. Hidden set pockets along one of the more inner vertical seams is the perfect finish. It is just exceptional and I think it is one of the best Biba coats I've ever personally seen. Excellent condition 

Fully lined in black silk. It has one hook to close at the front. Light padding in each shoulder. Pockets on each hip. I see some light water marks on the inner lining here and there. The open should fit a variety of sizes as long as the upper shoulders fit.

Sleeves: 21" and 14" around the upper arm
Shoulder: 17.5" flat across the exterior of the entire upper shoulder
Bust: to 18" flat across from side seam to side seam
Waist-hips: open
Length: 43" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# DD4659

Reference Photo: Photo feature of the first Autumn collection at Big Biba in 1973 from the book “Welcome To Big Biba” by Steven Thomas and Alwyn W Turner. 

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This gorgeous jacket is from the Fall 2015 collection. It was not a runway piece but it was not unusual for other pieces to be produced for retail by the brand. From his very first collection for the Fall of 2002 Alber brought a beautiful silhouette to the house that was flattering to women but still was very easy to wear. This is a great little piece that will add a bit of a pop to your wardrobe and is easy to mix in with your existing items.

This is an amazing little jacket that touches on the feel of those cropped 1940s 'chubby' with its cropped length and boxy cut but with a touch of the 70s mixed in with the horn buckles at the front. This length is very flattering on and the proportions perfectly balance out something slimmer worn underneath. It is made out of faux fur that is lovely and soft. A neutral beige ivory is mixed in with a deep crown black to create the pattern that you see. The 'fur' is longer for a bit of a shaggy feel. It is cut to be in more of a boxy shape on the body and the hem ends just at about the hip. There is no collar and it closes with horn toggles down the front. The sleeves are straight and perfectly balance out the box shape of the body. It looks to have never been worn and is gorgeous. Excellent condition.

Fully lined in a black silk and closes at the front with the toggles as shown. Tagged a modern Lanvin 42

Sleeves: 28" and 14" around the upper arm
Shoulders: approx 15"
Bust-bottom hem: 18" flat across from side seam to side seam
Total length: 23" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4634

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This top is from the second last ready-to-wear collection that Thierry Mugler presented. It is from the Spring 2001 season and it is an absolutely outstanding piece. It's twin walked the runway that season and I am very happy to have photos and video for reference for you to be able to see how phenomenal this sits on the body. He experimented with materials that included leather and netting as you see in this piece and the appearance of these wide angel sleeves were of note. I've only ever seen one other piece of this available that was done in a different colour from the runway piece like this one is in it's a phenomenal collectors piece

The top is made out of a brown silk net that has those wonderful, leather pieces, hand sewn into place onto the netting. These are set to follow the design of the top. It wraps over itself at the front and ties at the waist, and you can tie it to the side, the back the front however you wish. The ties are extremely long and they are detailed with those little oblong pieces of leather in different sizes laid out to follow the cut of each tide. More leather curves down to follow the shape of the neckline at the front and go all the way across to the sides of the top. They curve up and over to the back where they come down in a little angled point there. The sleeves are as phenomenal as those long front ties. Each one ends in an extremely wide angel shape and is cut extra long. Again the little leather pieces have been applied to follow the shape of the sleeve and some go all the way up almost to the shoulder. I love how some are left to hang over the edge of the top on each sleeve. It just has that little extra bit of genius dimension. It is just outstanding. Excellent condition

Unlined and wraps to close. Tagged a vintage Mugler 38.

Sleeves: approx 27-28" and 13-16" around the upper arm
Shoulders: no defined seams
Bust: to 18" flat across from side seam to side seam but can b adjusted up and down a but when tying
Waist-bottom seam: adjustable
Length: 19" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# DD4635

Reference Photos/Video: Spring 2001 Thierry Mugler.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This is the second of this dress I have had in the shop and I was surprised to find another so soon after having the first. Its twin walked the Fall 1989 show and I love that we have the reference photo for you to see how it looks on the body. The runway look was styled with a metal belt and I love that it shows you that with a simple switch of what you choose to wear around the waist you can give the dress a different feel. Bob Mackie became a household name when he started dressing Cher. He started off his career freelancing for costumers Edith Head and Jean Louis and it was while there that he sketched the design for Marilyn Monroe's famous 'Happy Birthday, Mr. President' dress. He met fellow costume designer Ray Aghayan who eventually became his life partner. Together they designed costumes for Hollywood and created a made to order line of RTW. That led to his incredible journey in designing for stars like Cher and Diana Ross for many years and the launch of his own label. His work helped to define an entire era of high glamour on the small screen and beyond.

The dress is made out of a stunning ombre deep dusky pink and taupe silk chiffon. Then under the top layer of the silk is a second layer of silk chiffon that has these incredible gold and silver thread leafs worked through the silk. These shimmer through under the top layer and create a beautiful depth and unexpected glimmer when you move and as they catch the light. It is a combination that is stunning to see together. The bodice is strapless and it has an inner shaped corset that is boned and shaped for support and to stay perfectly in place. The top of the bodice is peaked at the sides and then it is slightly rounded as it dips down and into the centre. Onto the bodice the silk chiffon has been gathered and softly draped so that it follows the curve of the bust and then slightly overlaps at the front. It does the same at the back where it meets at the centre set zipper. The waist cinches in and the dress comes with its original matching silk sash that you can tie and style around the waist or the neck. The skirt flows out from under there and it is made up of yards and yards of feather light silk chiffon. There are two layers of the bias cut silk stacked on top of each other and then an inner silk layer that sits next to the body. The top two layers of chiffon are feather light and the movement they create as they float over each other as you move is just incredible. It is incredible to see in person and the colour has a touch softer feel to it then how it photoed. That little bit of added glamour and drama from the gold and silver under that top layer of chiffon elevates the dress that much more. I love it. Excellent condition

The bodice of the dress is fully lined in a copper brown silk. The skirt has an inner nude layer of silk under the top two layers of bias cut silk chiffon as described above. The bodice is shaped and boned inside and has an inner waist stay that hooks to close. A tiny touch of wear at the top off each peak and a small darkening to the skirt that gets lost int he folds of the skirt. Please see the photo after the label shot. It closes with a back zipper. Hand finishes.

Bust: to 17" flat across from side seam to side seam with room for at least a C cup at the front
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 12" from top of the tallest point of the bodice to waist
Total length: 56" from tallest point of the bodice to hem

Modern Sizing Equivalent: SML-MED

Item# DD4612

Reference Photos: Fall 1989 Bob Mackie Runway.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

John Anthony's business was all done on a made-to-order basis. That means that each piece is the only one that exists or in the very occasional circumstance that there are similar pieces only a very limited amount of pieces were made. And to make things even a little more special.... the pieces I have in the shop come directly from John's archive. He is one of the great American couturiers and he was known for his sharp tailoring and striking evening wear. He launched his atelier in 1971 and he quickly rose to fame, winning a Coty award in 1972 and then again in 1976. This jacket is from his Fall 2004 collection and is the original sample from his archives. 

The first thing you notice about this jacket is the extensive embroidery. It is incredible to see. The base is a deep brown velvet and then onto that is an extensive pattern that is made from hand applied black silk cording little metal mash pieces formed into leaves, and then there are thousands of different size gold beads and sequins that are hand applied over that. Please create this fantastic 3-D pattern that pops off the base and is one of the most beautiful things I have ever seen. This gives it weight yet once on the body it does not feel uncomfortable to wear. It is stunning. It has a beautiful tailored cut and it sits wonderfully on the body. This one has a single closure at the base of the silk collar and because of the way it is cut you could potentially wear it on its own or layered over something. It is that easy but super luxe piece you just throw on and go. The shoulders have light padding and the sleeves fall from there in a straight sleek line to the cuff. The waist is brought in with meticulous shaping and seaming so it has a beautiful curve. There is a hidden hook and eye to keep it closed. The hips flare out from there for beautiful shape. It is meticulously tailored. John told me that creating jackets was one of his favourites things to do. They are infinitely challenging to have them sit perfectly on the body and his are tailored to a master level. The collar is a gorgeous rich chocolate coloured silk and it is a neat rounded shape that plunges down the front in a sleek V. ThIs one is more fitted through the entire body of the jacket. The beads, silk cording, sequins and other appliqués are all applied by hand and are set into a dense pattern that covers the entire jacket. To think of the man hours put into this jacket is incredible. The personal attention to each piece is clearly seen in the workmanship of his designs. His work is very expensive and beaded jackets like this retailed for up to $10,000 and more during this time period which would be around $25k in modern dollars to recreate at this level. This is the actual sample jacket and it is gorgeous. Excellent condition

Fully lined in a black silk with a hook and eye closure at the front. Padding in each shoulder. Made by hand, one of a kind and pristine. 

Sleeves: 25" long and 12" around the upper arm
Shoulders: 14.5"
Bust: 17" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Lower seam: 18.5" flat across from side seam to side seam
Length: 24" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD4578

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

John Anthony's business was all done on a made-to-order basis. That means that each piece is the only one that exists or in the very occasional circumstance that there are similar pieces only a very limited amount of pieces were made. And to make things even a little more special.... the pieces I have in the shop come directly from John's archive. He is one of the great American couturiers and he was known for his sharp tailoring and striking evening wear. He launched his atelier in 1971 and he quickly rose to fame, winning a Coty award in 1972 and then again in 1976. This dress is one of two pieces I have from his Fall 1981 collection and both are the original samples from his archives. No photos were found of the runway presentation of these exact two pieces but we did find a series of photos of pieces with the same beadwork so you can get an idea of how beautiful they are on the body. 

The fabric this dress is made out of is a light weight silk chiffon in a deep brown colour. This is a set and I love that this gives you that bit of added versatility of having the skirt and top to mix and match or wear together. Onto the chiffon is a dense application of beads that are set in vertical rows that cover almost all of the dress except for the top of the bodice. This is done deliberately and acts as a part of the pattern of the piece. All of the beads have been applied by hand in perfect little rows onto the silk. This makes the set glimmer softly from every angle. Both pieces have a simple and easy cut so that they are easy to wear and are very flattering on the body. The neckline of the top is a simple scoop and closes with a hook and eye at the back of the neck above a keyhole. The bodice is cut to skim down over you to the waist. The waist is finished with elastic and the bodice is  meant to pouf and curve under you a touch like how I photoed it. The skirt has a banded waist and falls to the floor under that in a swoop of fabric flaring out a touch as it nears the hem. It has a high slit on one side that has dangling beads hanging down and over the opening. The sleeves are completely beaded in the same vertical rows of beads and then they fall in a straight cut to the wrist for a touch of fullness. They are gorgeous when worn together. The work has all been done by hand and the workmanship is fantastic. They fall like a dream once on the body. Excellent condition with a minor note below

Fully lined in a second layer of nude silk chiffon. The top closes with a hook and eye above a keyhole at the back of the neck and has elastic at the bottom seam. The skirt closes with hook and eye at the waist and a zipper under that. There are minor missing areas of beads here and there and some of the dangling beads over the skirt seam are missing. Please see the photo after the label shot for an example. The sample tag is stitched inside the cuff of one sleeve.

Top
Sleeves: 23"
Shoulders: 14.5"
Bust: to 20" flat across from side seam to side seam
Waist: to 21" flat across from side seam to side seam
Bottom seam: 14-20" flat across from side seam to side seam
Length: 27" from neck to hem

Skirt
Waist: 12" flat across from side seam to side seam
Hips: to 20.5" flat across from side seam to side seam
Length: 45" from waist to hem
Slit: 27" from hem up

Modern Sizing Equivalent: XS-SML

Item# DD4571

Reference Photos: Fall 1981 John Anthony Ready to Wear Advance Preview.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

John Anthony's business was all done on a made-to-order basis. That means that each piece is the only one that exists or in the very occasional circumstance that there are similar pieces only a very limited amount of pieces were made. And to make things even a little more special.... the pieces I have in the shop come directly from John's archive. He is one of the great American couturiers and he was known for his sharp tailoring and striking evening wear. He launched his atelier in 1971 and he quickly rose to fame, winning a Coty award in 1972 and then again in 1976. This dress is from his Fall 1988 collection and is the original sample from his archives. We found a photo of a dress on the runway from this same collection with the same cut through the top so you can get an idea of how this will sit on the body. John told me that this dress was made for the runway as well and was edited out once the final line up was done. I love this dress and am so happy to let it have its full moment now. His work is amazing on the body and transforms once it is on and moving. 

This dress is absolutely stunning and it is among my favourites from the pieces he has sent to us so far. It is very light in weight once on the body. It is made from the most beautiful feather light silk chiffon. Bias cut silk chiffon is incredibly hard to work with and for this dress he has layered it with each layer falling perfectly over each other. The dress is made of three layers of the chiffon. The two innermost layers are  unadorned and then the top layer has the black lace detailing added to it. It slips on and zips up at the front and this is all cleverly hidden with a panel that wraps and snaps into place to one side. The snaps continue down under the lace detail on the skirt. The snaps only close it part of the way and a thigh high slit is left so that when you walk you will see a mile of bare leg. The front plunges into a V and there is a caped feeling panel of hand made black French lace that drapes over the shoulders for the prettiest romantic touch. This wraps all the way around the back and I love how it drapes there. The lace at the front curves down and to the side and then trails all the way down the skirt to the hem. A wide order of it is placed all the way around the hem. I love the way the lace is all perfectly and meticulously set onto the silk with thousands of tiny precise stitched done to hold it in place and follow the pattern in the lace. This is couture level detailing. At the back, the skirt extends out a bit past the hem to sweep behind you as you walk. The silk is so light that your slightest movement causes it to float around you. It is very beautiful. Excellent condition.

Made of three layers of silk chiffon as described above and closes with a hidden set front zipper and then hidden set snaps down the side. Hand finished throughout. 

Bust: to 18" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: approx 14" from top of shoulder to waist
Total length: 64" from top of shoulder to front hem, 76" to the longest point of the back hem
Slit: 34" from front hem up

Modern Sizing Equivalent: SML-MED

Item# DD4555

Reference Photo: Fall 1988 John Anthony Runway.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

Christian LaCroix launched his Haute Couture house in 1987 and was an instant success on the worldwide stage. A ready-to-wear line soon followed along with perfumes and menswear. His collections are always exotic, lavish affairs and his designs seemed to span the decades with their eccentric glamour pulled from multiple sources of inspiration. The twin of this cardigan was shown on the fall 1994 runway and you can see how fantastic it is on the body. It's that perfect piece that walks the line between being easy and comfy and still glamorous.

This is a beautiful example of Christian's ready-to-wear work and it is made to be slightly oversized and easy to wear with an almost lounging robe feel to it in its cut. It is a piece that you can wear open and layered over other things or wrap and use the belt that comes with it or one of your own to have to feel more like a coat or to even be able to wear it on its own. It is made out of a mixed knit that is insanely soft to the touch and feels soft on the body so that it has the easy organic lines that you see. Everything about it is meant to convey ease and luxury. It has no closures and just slips on. The shoulders slope down and into those fabulously long ribbed cuffed sleeves. You can push the sleeves up, wear them long or roll them. The body of the cardigan is loose and generously cut. Pockets sit low on each hip and the collar has a wide shawl feel to it. The entire bottom is one in a ribbon to pick up the cuffs. It is gorgeous and once on, you won't want to take it off. Excellent condition.

Unlined with no closures but does come with its original twist tie belt. Tagged a size M but the loose and easy for will work on a large range of sizes. The smaller you are the more it will feel oversized. 

Sleeves: 22" from he dropped shoulders
Dropped shoulders: 26"
Bust- hips: 29" flat across from side to side  and narrows to about 23"at the ribbing
Length: 32" from neck to hem and hangs a bit longer once on the body

Modern Sizing Equivalent: XS-LRG

 Item# DD4524

Reference Photo: Fall 1995 Christian Lacroix Runway.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This is an incredible set that is extra special because it is from the debut Haute Couture collection of Marc Bohan. It has the added province of being documented which is sometimes not easy to find with these very early pieces. The book Dior, Catwalk talks about the reaction to this first collection by Bohan; "Thundering applause, led by the Duchess of Windsor, rolled through the elegant grey and white salons of the House of Dior, the happy ending to the suspense story of the fashion year. At stake was the future dominance of Dior, and the career of designer Mark Bohan. The Chicago Tribune hailed him as being "Mister Dior, the third". The New York Times stated "the shouting, clapping, surging mob at the press show cause chaos in the elegant salon. Bohan was pushed up against the boiserie, kissed, mauled and congratulated. Chairs were toppled. Champagne glasses were broken. People were knocked down. It was a complete triumph for the designer". The book goes on to state that; Bohan called the collection the "Slim Line". It was a streamlined take on the original "New Look". He revisited the day suit with wide cut jackets and low waisted flared skirts fitted at the hips. The Times declared it "a success from the appearance of the first model and worthy in the tradition of the great maestro himself. And Women's Wear Daily wrote three months after the collection was shown that "the Bohan flare is everywhere. Bohan has done the impossible. He is a big commercial success and respected by the fashion intellect." 

The set is exceptional and is an excellent investment piece as well. Dior prices continue to skyrocket and finding couture examples like this from such an important collection and in this condition is getting harder and harder. 

This suit is fantastic. It is actually two pieces. A flared skirt and then a top / jacket that goes over that. The top is fascinating in the way that it is cut and we were very happy to find and see in the reference photo of it that its construction is deliberate. The front only buttons at the bottom and then there is a snap just above that button to hold it closed. It is meant to stay open above that and the button holes that you see continuing up along the edge of the jacket are actually faux. They do not open all the way through. You can see in the photo that the model is wearing it the way that it's meant to be worn. The very bottom is closed and then she has a light top on underneath. This lets the jacket play on its volume that it has. You could certainly open the fabric and finish the buttonholes if you wish to wear it fully closed, but it is meant to be like this. The jacket has a lot of volume and is meant to skim over you and then the skirt is cut in a sleek little flare that skims over the hips and flares out with a series of flat pleats all the way around the skirt. Around the waist the silk lies flat and neat. It is very flattering once on the body. When you stand still the skirt lays flat and smooth but when you move you get an incredible burst of movement and volume. Over that goes the jacket with its wonderful to the elbow wide cut sleeves and oversized MOP buttons down the front. The shoulders are soft and there is no collar. The fabric is a very high end silk twill dyed to that pale tan mixed with white. Both pieces are entirely finished by hand to Haute Couture standards and I've shown some of the detailing inside. It is chic and elegant yet still feels edgy. An amazing find. Excellent condition

The jacket is lined in a fine silk in the same colour as the exterior tan and the skirt is interlined in a white silk organza. The jacket closes with the bottom button only and a hidden snap above that as described above. The skirt closes with hook & eye at the waist and hidden snaps below that.  Completely done by hand to Haute Couture Standards. Proper numbered couture label in place on the jacket. There are some natural, variations and lines in the silk that is inherent to this type of fabric and should not be considered a flaw. It is in remarkable condition.

Jacket
Slightly dropped shoulders: 16-17"
Bust: to 21" flat across from side seam to side seam
Bottom hem: 19" flat across from side seam to side seam
Length: 24.5" from neck to hem

Skirt
Waist: 13" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 27" from waist to hem with 2" turned under the hem

Modern Sizing Equivalent: SML-MED

Item# DD4484

Reference Photo: Christian Dior Haute Couture Printemps-Ete 1961. Photo Emerick Bronson. Model Nicole de Lamargé.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

Every so often I am contacted by someone and entrusted with something very special and this wedding set by Romeo Gigli absolutely fits that bill. This incredible set is a one of a kind, Haute Couture made to measure piece that comes directly from its original owner and she has graciously given all of the original documentation on it to share with you along with a full write up on her experience with Romeo and a scan of the Elle article that was written a year after her wedding. 

Romeo Gigli launched his label first in 1981 which failed. In 1983 he partnered with Carla Sozzani and in 1985 he presented a 25 piece collection in Milan. By 1986 he was an international sensation and his collections made world wide headlines. In 1989 he had his Paris debut. His work was romantic but dramatic. Hallmarks included shawl coats, which this set so perfectly displays, along with soft sloping shoulders and silhouettes that narrow as they come down the body. Historical references run through his work and his de-structured lines felt fresh and new.

This set has all of the original pieces that Marion wore on her wedding day and even includes the original boxes and silk bags that the set was delivered in. Every piece was made in studio by hand and when I tell you that my photos do not do the full set justice I have never been more honest as everything is more beautiful in person. This is a once in a life time opportunity to own this incredible and important piece of fashion history. The link to Marion's story is below and a short description of the pieces follows. 

Click here to see the full photo set of Marion in the fittings with Romeo, on her wedding day, see the Elle editorial, and read Marion's story about the experience >

The wedding ensemble consists of a pale pink silk chiffon top, a gold lace hobble skirt and a deep gold silk jacket or top that was worn over those two pieces. An incredible silk chiffon coat that is filled with silk flowers and flows behind you in a knotted train was worn over that. The original pale taupe velvet shoes in their original box are present along with the hand made hair sticks and pins. The two original pink raw silk hand made bags that the skirt and tops were delivered in are included and the entire ensemble comes in its original raw silk covered box. The final piece included is the little hand held green silk bag that Marion carried that day.

The skirt and inner top are the base of the outfit. The top is slightly cropped and made from a pale dusty peach pink silk chiffon. The chiffon has been hand gathered into soft pleats and crosses itself over the front and back. It wraps around you and closes on one side, inside, with a series of silk covered buttons and then the other side wraps over that and closes at the back outside with buttons as well. The skirt is made out of fine gold lace and is banded around the waist for shape. It drapes softly over the body with volume through the hips created by the layers. It narrows down at the ankles for a touch of a hobble skirt in appearance with the ends curving up and under. It is an incredible design.

An oversized silk top goes over this that has a bit of volume through the body. It is made from a deep copper gold silk with a burnished finish. The sleeves are incredibly long and are meant to be gather along the arms and follow the cut and curve of them. The collar is very high and wired so that it stands and frames the face beautifully. One side is longer then the other and you can shape the wire to give it a quirky little curve in the direction and way that works best for you. I love the open cut out just under the collar. It hints at the silk chiffon top underneath and adds an unexpected flash of skin.

The coat is utterly remarkable. It is thoroughly Romeo Gigli in spirit and it is one of the most beautiful, magical things I have ever seen. It has those beautiful sloped  shoulders he was known for and the front flips over into a deep shawl collar. It slips on over everything else with no front closures. It just falls over you in this exceptional drape of chiffon and flowers and then trails out behind you. The end has been knotted and I love this detail as it is absolutely Gigli at his best. The coat is made from a silk chiffon outer and inner layer that has a touch of transparency to it while inside and between the layers are thousands of silk flowers. Each would have been placed by hand one by one to form a solid layer of flowers that shows through the silk. It has weight yet it feels weightless. It has presence yet it feels ethereal.  The top layer of the chiffon is a pale dusty pink and then the inner layer is a pale taupe. The flowers float between the two and it make this light rustling sound as it moves that it magical. It is one of the best things I have ever personally seen.

Finally are the accessories. Her original velvet shoes that slide on and then tie in place, the little green silk bag that is held by the tied straps and the various hand made hair and stick pins in their original box.

The entire set will be sent in it original box hand covered in a deep dusty pink raw silk as it came to Marion from the Gigli ateliers.

Everything is in superb condition. I see a teeny smudge of discoloration under the arms of the inner silk chiffon top and the wear to the soles of the shoes giving away the clue that it was worn that day. The silk on the large box it came in has more wear as seen in the photos

This is a once in a life time, absolutely remarkable piece of fashion history.

Inner top
Shoulders: no true seams
Bust: 18.5" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Length: 14" from top of shoulder to hem

Skirt
Waist: 14" flat across from side seam to side seam
Length: 47" from waist to hem and including the 4" waist band

Outer top
Sleeves: 39" from the dropped shoulder seam and are around 11" arond after the dropped shoulder
Shoulders: 27" across and meant to drop significantly
Bust: 30" flat across from side seam to side seam
Waist: 27" flat across from side seam to side seam and narrows to 19" flat across from side seam to side seam by the hem
Length: 41" from neck hem
Neck: 13" around

Coat
Is about 36" flat across the inner bust and it is about 120" long from the neck to end past the knot and not including the deep shawl collar. It is pretty much OSFA

Bag
Approx 9.5" tall and about 5-7" in diameter

Shoes
Approx a 40-41

Modern Sizing Equivalent: SML-MED for the inner outfit and the coat is OSFA

Item# DD4458

Reference Photos: Courtesy of Marion Hume. (1-2) Fitting with Romeo Gigli.  /  (3-7) On the wedding day.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

Richard Blackwell launched his label in the late 1950s and even at that time his dresses sold for between $800 and $1000, which in modern dollars converts to up to $10,000 a dress. Huge numbers for this time period. He dressed many of the big stars of the day including Jane Russell, Dorothy Lamour and Jayne Mansfield. His 'custom' label were the pieces that were made-to-order and were one-of-a-kind pieces that were fitted to a specific client in the couture tradition. This dress came directly to me from the original client which is how I have its exact date. It is an extraordinary dress from this time period and very beautiful

This dress is absolutely incredible and it is stunning to see it in person. The fabric is amazing in its own right and it would not be something you could produce anymore in our modern world. It is a luxurious deep copper gold silk that hold the lines and shape of the dress perfectly. The cut is pure Old Hollywood. The bodice is fitted to your curves and it is suspended from the shoulders by two tiny straps in the same fabric. Vertical panels and seams create the shape of the bodice and these all lead into a sharply angled seam that starts at the waist on one side and dips down tot he hip on the other. The seams are all perfectly place to give shape around the waist without having a horizontal line to break the eye. The fabric is gathered and curves over to one side of the hip and then falls to the floor in a column of silk. A long wide panel is swagged over on one side and then extends around to the back. This panel extends out at the side and falls longer at that side of the hem for a killer sweeping flare. It is just spectacular. This is pure Old Hollywood in the best possible way. The dress came with its original spray of pale baby blue, blush pink and ivory silk flowers that you can pin at the front, side or back depending on where you want to emphasize the shape created. I love the way the back dips low to show some bare skin for the perfect finish to this beautiful dress. Excellent condition with a small note below

Fully lined in a copper silky rayon. It closes with a side painted metal zipper hidden under a seam. Light boning through the bodice. Hand work throughout. I see a tiny bit of colour run near the edge on the bodice and  another small areas near the hem. There is a very small hole on the folds under the swag from the brooch. You don't see this once the flower is in place and its in the fold if you choose to wear it without the flower. Some minor grubbiness on the edge of the hem. The flower shows some storage marks and the petals have softened. Please the photos after the label shot

Bust: 16.5" flat across from side seam to side seam with room to at least a B cup at front
Waist: 13" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 62" from top of the shoulder to longest point of the hem

Modern Sizing Equivalent: XS-SML

Item# DD4457

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

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

The suit is a marvel of construction and is in wonderful condition. It is simple in appearance but this really hides the masterful cut and tailoring of it. The jacket is tailored with a sleek cut. It has a lovely little wide pointed collar. Four pockets are top set on the front. All four are functional and Iove the little nod to a military piece it gives it. The shoulders have the lightest of padding just to create and hold their shape. The deep brown light weight suiting wool it is made out of has enough weight that it holds the lines perfectly once it is on. It has its original belt to cinch in the waist of the jacket and add shape or you can wear it without for a more boxy feel. Each sleeve is long and straight and ends in a proper three button cuff and each button works and has a proper couture button hole. It really is incredible made. The skirt is fabulous. It is a true flaring A-line and that is what lets is fall so beautifully as you can see in the photos. The waist is banded and besides the amazing shape of it is has been kept simple to accommodate the belting of the jacket over it. There are pockets hidden along each hip. Once on, the suit transforms and you can see how beautiful the lines are and this would be even better on an actual person. His suits changed the way we approach woman's wear and this particular one is a particularly wonderful example of how strong his tailoring and lines were. This one is also a little extra special because it has a handwritten tag inside with the name Deborah what looks like the number 604. A mystery as to whether that was a sample or perhaps the runway model or a client tag but it's always nice to see these extra touches in a vintage piece. Excellent condition with a minor note below

Both pieces have a hand set lining in a deep brown silk. The jacket has a three buttons at the front and three buttons on each cuff. All proper buttonholes. The skirt has a zipper and hook & eye at the waist. Two top set pockets on the breast of the jacket and two on each hip. The slip belt is stamped. Hand finished throughout. The backing on the belt is starting to go and that coating sheds just a touch. The front is fine.

Jacket
Sleeves: 24"
Shoulders: 14"
Bust: to 17.5" flat across from side seam to side seam
Waist: to 15.5" flat across from side seam to side seam
Hips: to 18.5" flat across from side seam to side seam
Length: 23" from neck to hem

Skirt
Waist: 12" flat across from side seam to side seam
Hips: open
Length: 23" from waist to hem with his signature 5" deep turn under at the hem

Modern Sizing Equivalent: XS-SML

Item# DD4455

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

The twin of this dress in a different colour walked the Fall 1990 runway and we have included the reference photos of that so that you can see just how fabulous this one is on the body. This dress also included the incredible and detailed brooches on both the front and back of the dress as it was presented on the runway. This dress is unlabeled but came to me directly from the original couture client from whom I have, and have had, several other Haute Couture pieces. She was fitted by Christian himself for the dress which makes it that much more special. It is a stunning example of his Haite Couture work during this time period.

The dress is made out of an iridescent silk taffeta that has a slight colour change to it depending on how the light hits it. It can go from a deep bronze to a more iridescent blue / purple tone. I love it. The  sleeves are long and there is a row of five silk covered buttons at each wrist. The body of the dress is cut to skim over you. It is gathered at one side at the front with the first of two incredible jeweled brooches the dress came with. The brooch is hand made from a gold toned metal with large golden topaz glass crystals mixed with brilliant blue crystals. The neckline angles down and across your shoulder to leave one shoulder bare and exposed. At the back the neckline dips dramatically down into a deep open V that leaves your skin bare and exposed. The second huge jeweled brooch sits at the base of that. A panel of silk flares out dramatically to one side to create a half bow, half bustle feel. The interior of that panel has extra structure so that it stays perfectly in place. The skirt falls below that and depending in your height will sit at about the knee or just above. It is fabulous. Excellent condition with minor 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 panel loops through the other over that. There is fused strip of rubber ribbon along the inner neckline to hold it in place and this has degraded a touch here and there. One stone is missing at the bottom of the front brooch. The brooches are tacked into place at present but 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 snags on the fabric where the brooches have caught on the silk near the brooches. These are all very minor and mentioned for accuracy. Unlabeled. Sourced from the original couture client and Mr Lacroix has mentioned to me on insta that he remembers fitting her.

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

Modern Sizing Equivalent: SML-MED

Item# DD3602

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

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

The Stella McCartney era at Chloe has since become extremely collectible. The fall 2001 show was fantastic. This was the opening look for the show and in Vogue's review they specifically mentioned the faux coats that were treated so glamorously with added details saying; "Stella McCartney continued with her exploration of grown-up, couture-inspired silhouettes for Chloé, without forgetting about the youthful, fun-loving basics that are the label's bread and butter. McCartney's forte is her ability to glam up casual street clothes. Her fitted jeans and corduroy trousers with zipper pockets, face-stenciled T-shirts and pearl-encrusted draped tops all had an air of insouciant cool to them; so did the faux furs with shaved bits that accommodated clusters of silver flowers." This was one of the strongest looks from the show and a true piece of fashion history.

The twin of this coat was the opening runway look and was worn by Angela Lindvall. The show had several piece sin this faux fur but this coat is the hardest to find. You will often see the shorter version that was made of this coat or the shrugs or collars but the actual coat is very rare. These had a pretty hefty price tag and not as many were made. They were only sent to certain stores and were a limited production piece. The coat is a 3/4 length and is made from a thick and soft faux fur. The cut is loose and easy and it widens out as it nears the hem for a bit of a swing coat feel. It has hidden fur hooks to close the top part of the front and then swings open under that. There's a hook at the top of the collar so you can wear it folded down like how I photoed it for these photos to give it a more loose and easy feel or you can close that top hook so that it wraps around the neck like how it was worn on the runway. The sleeves are cut extra long and they are gathered along the inside of the wrist. This gives them a curve so that they follow the curve of the arm and it also lets you wear them up a bit so they get that bit of a gathered slouchy feel you see in the runway pics. The inside is lined in a men's wear shooting fabric that she often used. There are two zippered pockets in the interior that have little chains attached to the zipper pulls. On the exterior there is a pocket hidden along each hip. It is meant to feel a little big and slouchy once on and I love that. The best part about is of course that extraordinary detailing done on the shoulder and collar on the one side of the coat. Fine silver metal strips have been applied to the coat to create a series of medallions. Swirling beads and sequins sit over those to create this fantastic design that goes across the top of the arm. under the shoulder at the front and then runs up and into the collar and around to the back. Its just brilliant and an amazing piece of fashion history. It appears to have been worn very little if at all. Excellent condition.

Fully lined with two interior pockets as described above. It closes with hidden fur hooks at the front. Pockets on each hip. Tagged a vintage Chloe 40

Sleeves: 28"
Shoulders: 16.5"
Bust: 18-19" 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: 47" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4454

Reference Photos: Fall 2001 Chloe Runway, Look 1. Model Angela Lindvall.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

Madame Gres' work has had profound effects on Haute Couture and her influence still resonates to this day. Her attention to detail, master draping techniques and respect for the female form is unparalleled. She was known for designing and creating garments directly on her models and this became a signature of her work. She opened her first atelier, La Maison Alix in 1932. A partnership briefly changed the house's name to Alix Barton and then the label went to simply Alix. In 1942 she married, and the label made its last change to became Madame Gres, which was a partial anagram of Serge, her husband's first name. Her work spans over five full decades with the vast majority of it, with the exception of a short-lived RTW line begun in 1980, dedicated solely to creating Haute Couture. She is one of the greatest couturiers of our time and her pieces are very rare and hard to find. This set is from the early to mid-seventies and it is fabulous.

This is an amazing vintage set. I love the camel coloured wide legged jersey pants with their wide cut legs. The jersey they are made out of is the soft wool that she used extensively during this time period and it has a soft finish to it that looks and feels heavenly once on. The pants are banded at the top with a wide gathered sash of a pale yellow jersey for contrast to the camel colour below. This hooks to the one side and there is built-in boning at the sides to hold its shape around the waist. It is a touch wider on one side then the other to create a pretty curve. The pants fall to the floor and widen out to be 64" around at each hem. The top has a metallic finish to it and the contrast between the two fabrics is fantastic. The silk has actual metal thread woven through it and this gives it a subtle glint from all angles. A design runs through the silk and the metal thread is woven onto that in a floral design The neckline is scooped and it skims over you to the waist. The sleeves are long and simple. It ties into place at the back with ties made of the same fabric. These sit on an angle that starts at the neckline, run across to one side and then go straight down to the hem of the top. This leaves a little bare expanse of skin showing between the ties. I photoed the top un-tucked and tucked as it can be worn either way. Both pieces have a Haute Couture label in them and the top has an additional handwritten numbered tag inside. This is an incredible and rare opportunity to own a beautiful piece of her work and it is that much more versatile with the two pieces since you can mix and match with pieces from your exiting wardrobe. Excellent condition with a small note below.

Both pieces are unlined and have been completely finished by hand. The pants close with hook and eye at the band and a zipper under that. There's a small repair to the jersey inside the inner structure of the band and then one of the fold along one side. Neither is seen once on. The top ties to close at the back.

Top
Sleeves: 21"
Shoulders: 14"
Bust: 17" flat across from side seam to side seam
Bottom seam: approx 12-13" flat across from side seam to side seam
Length: 12" from shoulder to hem

Pants
Waist: 12" at top of band and narrows to 11.5" flat across from side seam to side seam of true waist
Band: 3.5" high on the boned hook closure side and the other side will widen to approx 9"
Hips: open
Length: 40" from true waist to hem
Inseam: 29"
Rise: 15" from true waist to inner seam

Modern Sizing Equivalent: XXS-XS

Item# DD4182

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.