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. This time period was known as the 'Golden Age' for the Dior fur division. Frederic Castet was appointed the head of the division after joining Dior in 1953. He single handedly restructured the fourrure department to follow the haute couture and the prêt-à-porter philosophy of the house in 1968. He was one of the first to treat fur like fabric and would dye it, trim it, pluck it and create whimsical fantasy pieces that had never been see prior. His presentations were held on the second floor of the Dior mansion on Avenue Montaigne. They were as wanted a ticket as the couture shows were and they were legendary in terms of the extravagant spectacles that he would put on to showcase his work. His work was worn by all the major stars from Sophia Loren to Elizabeth Taylor.

The color of the fur is a rich deep chocolate that is so dark that at first glance it almost appears to be a black. Underneath the undercoat is thick and plush with an almost reddish cast to it which is remarkable. I am not 100% sure what type of fur it is but it is very soft, supple and shiny. The coat is pieced together in a series of rows set vertically through the bodice and back and then horizontally for the skirt and sleeves. This gives the coat a subtle pattern that is lovely. It is cut in an almost trench coat style with a flared bottom that gives it some movement and shape. Big silver metal buttons run in a double row down the front. Slanted 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 wide and the collar is oversized and frames the face beautifully. You just slip it on and tie the belt and it has this great easy slouchy feel to it. Excellent condition with a minor note below

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. There is slight wear at some of the common points. The edges of the sleeves, pockets and along the front edges but it is very minor.

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

Modern Sizing Equivalent: SML-MED

Item# C484

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

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

This wonderful cape is from the Fall 1973 collection and its twin in a green colour resides in the YSL museum permanent archive collection. I have a copy of a video shared by a former YSL employee that shows it behind the scenes and the sketch I have included here is a shot from that video. I love having that extra documentation on the piece. It is just stunning to see it in person

The cape is this wonderful rich shade of brown and the fabric is extremely soft and cozy. The chenille is heaven to the touch. It is so easy to wear. You just slip it over your shoulders and it drapes in place. A tie in the same chenille sits at the neck  and you use this to tie it in place and to control how loose or tight it sits. A wide set hood extends out from the neck and I love how it drapes over your shoulders for added detail and drama. And of course of you wear it up. It is absolutely dreamy and has all the drama. If that was not enough it has chenille fringes that go all the way around the edges. I love this detail and the movement it adds. The cape is made out of a loose net that has a honeycomb feel to it that gives it a ton of movement and volume. When you're standing still it feels very sleek but the second you move that honeycomb technique expands it out as much as it needs to go. When you move you get wonderful movement as it floats around you. I also the softness and richest the chenille has. I feel like this makes it a lot more versatile than some of the more traditional wool fabric capes. It has this sense of whimsy that YSL really excelled at. I can't say enough good things about this one and the fact that it's twin is held in the YSL museum collection is just icing on the cake. It is a great piece of fashion history. Excellent condition

Unlined and drapes over the shoulder to wear with a tie at the neck as described. The easy open cut should allow it to fit just about any size. It appears to have been worn very little if at

Length: 53" from shoulder to hem

Modern Sizing Equivalent: OSFA

Item# C605

Reference Photo/Video: Taken from Instagram - credit unknown.

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

This Givenchy coat is made from a very unusual fabric combination for its time period. The underlying fabric is structured and almost feels like a coated felted canvas fabric. These are set in angled rows with diamond shapes top stitched in different directions. Interspersed with those are diamond shaped clusters of a deep brown-black faux fur. This combination makes for this fantastic patchwork feel and gives the coat an unusual finishing texture that is very tactile and 3 dimensional. It is hard to describe but when you have it in your hands you will agree that it is very unique. The fabric choice is also what gives it its structured feel and shape. More faux fut circles the neat and small collar and then runs down the front edges and circles around the hem. Each sleeves ends in a cuff of that faux fur. It wraps over itself and closes at the front with a hidden hook and eye. This gives it a bit of shape through the waist when you wear it closed. I also love that having it close this way keeps it from having any buttons or zippers showing that would break the line of the coat. It skims over the bust and hips and then flares out to the hem. It is very well made with a deep brown silk lining inside and hand finishes. It is absolutely gorgeous in person and even better than it looks in the photos. And it has pockets. It appears to have never been worn or worn very little. Excellent condition

Fully lined in a brown silk. Closes with an interior strap and button and then the exterior hook and eye at the waist. It appears to have never been worn or worn very little. Hand finishes.

Sleeves: 23"
Shoulders: 15.5"
Bust: 18" flat across from side seam to side seam
Waist: 17.5" flat across from side seam to side seam
Hips: 20.5" flat across from side seam to side seam
Length: 46" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# C606

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 faux fur pieces being produced at this point in Dior's history. This time period was known as the 'Golden Age' for the Dior fur division. Frederic Castet was appointed the head of the division after joining Dior in 1953. He single handedly restructured the fourrure department to follow the haute couture and the prêt-à-porter philosophy of the house in 1968. He was one of the first to treat fur like fabric and would dye it, trim it, pluck it and create whimsical fantasy pieces that had never been see prior. By the 1980s he was doing extravagant presentations that only showcased his furs and had delved into faux furs as well. His presentations were held on the second floor of the Dior mansion on Avenue Montaigne. They were as wanted a ticket as the couture shows were and they were legendary in terms of the extravagant spectacles that he would put on to showcase his work. His work was worn by all the major stars from Sophia Loren to Elizabeth Taylor. This coat is just incredible.

The coat is made out of a faux made to look like a sheared sheepskin that has been brushed out so that is is soft and fluffy. It feels like what we now refer to as Teddy Bear coats. The color is that perfect soft camel color that will work with anything. It is a little bit paler in real life then how it photoed and the camera has added a bit of shadow. The colour is very even and pale in person and even better then how it looks here. The faux fur is very soft and thick. It is cut in a classic swing style with a flared bottom. Two large hand carved wood buttons sit at the neck and there are no other closures. Pockets are hidden along a seam on each hip. The sleeves are cut wide and full and there is a wide fold up cuff on each one. The collar is also big and full but it is set back away from the neck a bit so it doesn't feel bulky. It is a stunning piece. Excellent condition

Fully lined in a brown silk that is embroidered with the Dior logo throughout. It closes with the buttons at the neck. Pockets on each hip. I see no bald spots or shedding, the coat is supple and soft. The easy cut should allow it to fit a range of sizes. It has a decent weight to it

Sleeves: approx 26"
Shoulders: no defined seam
Bust: to 27" flat across from side seam to side seam
Waist-hips: open
Length: 41" from neck to hem

Modern Sizing Equivalent: SML-XL

Item# C602

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

According to Vogue the program for the Fall 2010 collection started off by saying 'And God Created Woman' which was meant to reference 'thoughts of the era of the young Bardot, of fifties-sixties wasp waists, and circle skirts'. This combination of colour pairing pale lavenders and browns was used throughout the show. This suit was not shown on the runway but was a highly coveted piece once it was introduced to the shops. For those opposed to wearing fur the removal of the collar and changing of the buttons would be an easy task and then those pieces could be stored for future integrity and fashion history sake. It is a very chic example of Marc's work for LV.

The suit is constructed from a chic tweed feeling boucle done with a pretty pink yarn mixed into the otherwise more classic hues. This is then combined with a fine pale purple silk for the bodice of the inner dress. Over this slips a chic little jacket that has the soft shoulders and box cut of the sixties. I love that with the set being made of two pieces you instantly have endless styling options to mix and match with other pieces from your wardrobe. The inner dress is cut into a chic little shift and is done to appear to be a silk top tucked into a skirt. The top has Marc's signature piecework where the seams attached which gives it a pretty and feminine feel. The collar and tie at the front are done in a pale pink silk chiffon that has a slight bit of texture to it. The skirt falls from the waist in a slim pencil shape and there is a silk taffeta bow on each side of the skirt at the hem. A pleated inset sits along the back hem for a pretty extra detailing. The jacket is cut in a classic box shape. The sleeves are long and I love the pockets that sit on each side at the front with their little taffeta edging. The jacket snaps to close and there are three mink buttons that sit along the edge. A little mink collar circle the neck. If these were removed the jacket could be worn without either and it would still look perfectly fine as it is all fully finished under neath and they are added decorative elements only. I especially love the cuffs on the jacket. Each has a little extension done in the taffeta to create a pretty ruffle feel around the wrist. Excellent condition with a small note below.

Both pieces are fully lined in a black silk. The dress closes with a back zipper. The jacket snaps to close down the front. The pockets on the jacket are functional. Both pieces are tagged a LV 38. I see one tiny mark on the tie and a small watermark on the silk on one side. Please see the two shots after the label shot

Waist: 14" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 43" from neck to front hem, 45" to the back hem

Jacket
Sleeve: 21"
Shoulders: 15"
Bust-hem: 19" flat across from side seam to side seam
Length: 21" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4141

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

I am always thrilled to find a really great Emilio Pucci piece. The truly great ones are getting very hard to find and this one is fabulous. By the 1960s, the time period that this dress is from, Pucci was a world-wide phenomenon. Hollywood stars like Marilyn Monroe, Sophia Loren and even Jackie Kennedy were huge fans. For all of the many attempts since to catapult the label back to the height of its glory, the days when Emilio himself oversaw the label and designed the prints will always be the most special to me. The dress is not 100% perfect but it is gorgeous and the flaws it has are forgivable. It definitely has a lot of life left in it.

This is one of the prettiest Pucci dresses I have ever had in the shop and I love it. It is done in a gorgeous combination of a soft pink mixed with taupe and white. Fine black lines outline the patterns and anchor the print. These colors are combined into a soft and romantic oversized abstract floral design that sweeps over the entire dress. As is typical in a Pucci dress, he has used bands of a different printed silk to define sections of the dress. On this dress these borders define the high set bodice with its crossed over neckline and high waist seam. The cut is very flattering and very easy to wear. The bodice is set high and crosses over so the neckline sits wide across your shoulders. It is meant to skim over you and then just falls in an almost caftan feel to the floor. The silk chiffon on the skirt wraps over itself and anchors in under where the bodice crosses and anchors in above. This creates it a pretty line that runs down offset on the front. It also adds another dimension of movement. When you walk the air lifts that extra bit of silk chiffon and it is very pretty. The dress is long and widens out as it nears the floor. Each sleeve is long and cut wide. They are not lined so you get that pretty bit of transparency through the print. It is very feminine but somehow still sexy and elegant at the same time. I absolutely love it. Great overall condition with notes to review below

Fully lined through the body of the dress in in a white silk. It closes at the side with a painted metal zipper and there is a small opening at the back of the neck that closes with snaps. I see a dot of a mark under the band at the side the front. It is very tiny and nothing you would notice when on. There are a couple of tiny areas where the silk has thinned. Under one arms on the sleeve and one tiny dot on the back. They are small and held up fine when I had it dry cleaned. The inner back hem hangs a touch lower then the skirt length and it has some colour run. Please see the photos after the label shot. I have reduced the price substantially. It is still fine to wear even as is.

Sleeves: 22"
Shoulders: 15"
Bust: to 20" flat across from side seam to side seam
Inner waist: to 19" flat across from side seam to side seam
Inner hips: to 22" flat across from side seam to side seam
Bodice: 9" from top of shoulder to top seam under bust
Skirt: 48.5" from waist to hem and including the 2" band under the bust

Modern Sizing Equivalent: SML-MED - maybe a LRG if the shoulders work

Item# DD4080

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

A similar silhouette to this dress walked the runway for Fall 2019 but this dress was a production piece that was done in limited quantities for the shops. I still included the runway shot here because it gives you an idea of the fit of the dress once on the body. Fall 2019 was a wild success. The Vogue review for this collection touched on his inspiration for the show saying;  (he is) a man on an intuitive mission to place fashion on a positive plane. “I feel that people are looking for emotion and dreams—but not distant dreams,” he said today before his ready-to-wear show was about to take to the runway. “I want to create a community for Valentino. I mean something different from ‘lifestyle,’ which is about owning objects. It’s about people who share values.” Every piece he does is special and this dress is no exception.

I love this dress. It is one of my favorite pieces and it feels thoroughly Valentino. When you add in that spectacular floral print that covers almost the entire front of the skirt and it's just a joy. The dress is made from a fine and very light weight cotton that has been finished to have a sheen so that it looks at first glance to be a silk. It has a touch of transparency to it and I think he choose a cotton over a silk as it hold the pleat work far better then a silk would. This dress comes with its original hang tags and it notes on them that the cotton was spun in such a way that it may have variations in it. There is also a tag that outlines how to maintain the plisse effect that dress by wringing it to compress the pleats after cleaning. I love that Valentino goes to these lengths and uses such natural fabrics. It is part of what makes the exceptional quality of his pieces. The lightness of the cotton combined with that pleating is what lets it move so beautifully over the body once it is on. When you walk, the fabric of the skirt and those fantastic caped sleeves catch the air and billow out around you. The entire dress has been finished to look like it was hand painted. The body of the dress it done to suggest stone or sand and is in soft variations of a pink taupe in several tines. Then onto the front skirt is the giant abstract painting that has been done to suggest a flower or perhaps a field of them. It is actually screened onto the fabric yet it somehow feels as if it is hand painted into it. The neckline is set high and there is the tiniest little ruffle set there. It skims over the bust and the a second small ruffle curves around the easy set waist seam. The skirt falls from under there to the floor in a sweeping expanse of fabric. There is a very deep ruffle that is attached to the upper skirt and here to the seam of this tier is also finished with a ruffle. The skirt is cut beautifully and gradually widens out as it nears the hem. There are yards of fabric in the skirt and the pleats expand to give it a floating effect as it moves with you. The sleeves are wonderful. Each is a full circle around and fall over your shoulders. I took a shot from the side so you can see how wide they are. I love them. The precision in cut to have this all fall and move so beautifully should not be underestimated. It has never been worn and has all its original tags. Excellent condition

Lined through the bodice and skirt with a similar but un-printed cotton. The dress closes with a hidden set zipper at the back. Tagged a Valentino 40. All original tags. Has its original price of 4400 euros which was about $5300USD in 2019.

Bust: to 18" flat across from side seam to side seam
Waist: to 14.5" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of bodice to waist
Skirt: 46" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4078

Reference Photo: Fall 2019 Valentino Runway, Look 60. Model: Yoon Young Bae.

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

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

I love that both of the pieces in this dress set are strong enough to stand on their own which means you can wear them together as intended or you can mix and match them with pieces you already have in your closet. Both are amazing and both are densely sequinned with every inch of the surface covered. The jacket has a beautiful cit with string shoulders and it is meant to be more fitted through the body. The shoulders are padded for shape and the sleeves each end in an upturned cuff. The waist is brought in and shaped with vertical seaming and then the hips flare out just a touch. Flap pockets sit on each hip for added shape and detail. It closes down the front with a series of hidden hook & eye so that you don't break the lines of those beautiful sequins. The sequins completely cover the silk that the jacket is made from and are set on overlapping rows/ Setting sequins this way is far more costly and time consuming. The sequins combine a pink taupe with a deeper bronze and John has uses the two colours to highlight the back and front collar of the jacket and create a degrade effect with the sequins deepening in colour as they move down to the hem. Under that is a sexy little strapless dress. The dress is cut to hug and highlight every curve of your body. It is covered int he same sequin work as the jacket and he has also done a degrade colour so that the sequins are darker as they near the hem. When worn together this creates this beautiful line and when worn separately it adds a subtle detailing that is gorgeous. Those hundreds of thousands of sequins give the set a stunning shimmer and allow it to catch the light from every angle. Hand finished throughout and just a stunning set to see in person. Far better on the body then how it photoed. Made to demi-couture standards. Excellent condition with a minor note below.

Both pieces are dress is hand lined in silk. The dress closes with a hand set back zipper. The bodice has light boning and slight built in hidden padding on the bust. Interior waist stay hooks to close. The jacket hooks to close down the front as described above. Padding in each shoulder. I see some scuffing to the silk one the inner lining of the jacket where the sequins of the dress have rubbed on it. It looks like the silk lining of the jacket was reset at some point along the hem. Please see the last photo after the label shot. This is minor and of course cannot be seen when on.

Dress
Bust: 16.5" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Length: 27.5" from top of bodice to hem

Jacket
Sleeves: 22"
Shoulders: 14"
Bust: to 17.5" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 21" from neck to hem, including the feathers

Modern Sizing Equivalent: XS-SML

Item# DD4006

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.

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.