Geoffrey Beene was one of the great American fashion designers and he was recognized for both his artistic and technical skills. He launched his label in 1963 and a piece from his very first collection landed the cover of Vogue. A Coty award followed a year later and in 1984 the Council of Fashion Designers created the annual Geoffrey Beene Lifetime Achievement award in honor of Beene's fashion legacy. This dress is from the Fall 1984 collection and we found an amazing editorial photo of it in the September issue of Vogue that year. It is one of my favourite things in the shop and it is even better in person. 

I am completely in love with this dress. It is so representative of his work and is just a gorgeous little dress in its own right. The silk that he chose for the dress is a fine silk taffeta that holds the volume and shape that he wanted while still keeping the dress light and airy feeling once on the body. The colour are a blend of a silver toned grey with a large black floral print over it. The sleeves are puffed and they have lots of volume built into them. The neckline is high and the bodice is cut to to be more fitted. Into the silver silk taffeta below the neckline there is an inset made out of a semi-transparent silk that has a metallic lame finish. This angles up into a peak at the front and then wraps around the sides. It goes from the top of the peak in height right down to the waist seam. Set along the angle of the front peak is a long panel of the same metallic silk chiffon. These extend out into extra extra long ties. You cross them over each other and then you can wrap them around your body. For the shots here I have tied them at the back but they are long enough that you could wrap them around you and tie at the front as well. Depending on how you tie them you will get a glimpse of skin through the inner front panel. You can style the ties to take advantage of that and show more of the transparent panel or tie them so that it completely covers it for a fully opaque feel. This play on transparent cut-outs is a staple of Beene's work as he progressed into the nineties and I love seeing it in this earlier piece. Below the waist the skirt falls to the floor in a cascade of silver and black. There are many yards of silk that have been used to construct the skirt so when you move you can really get a sense of its fullness. You could probably add an underskirt if you wanted it to be even fuller. Underneath the top layer of the skirt is built in silk chiffon underskirt that is edged  in a wide panel of black lace. The lace is finished with a curving scalloped edge and when you move or sit you get just a peek of it from underneath. Square polished buttons down the back are the perfect finishing touch. It is gorgeous. Appears to have never been worn or worn very little. Excellent condition.

The skirt is fully lined in a black silk chiffon that is edged with a wide panel of scalloped black lace at the hem. The bodice is also lined in a black silk chiffon. It close with a series of buttons down the back and a low back zipper at the waist. The inner waist hooks to close. Each sleeve has elastic in its cuff and they are cut wide and easy. The ties are attached at the front as described above. It appears to have never been worn or worn very little.

Shoulders: no defined seam
Bust: 18" flat across the back from side seam to side seam
Seam at low waist: 13.5" flat across the back from side seam to side seam
Hips: open
Bodice: 16" from shoulder to low waist seam
Skirt: 40" from waist seam to bottom hem

Modern Sizing equivalent: SML-MED

Item# DD1904

Reference Photo: Vogue, September 1984.

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

This is a rare example of Hanae Mori Haute Couture from the Spring 2000 collection. This dress is an especially  interesting couture example because it illustrates how couture pieces are made specifically for the client when they are produced and are not always an exact copy of what was shown on the runway. The dress itself is a sleeveless version of Look 7 from the Spring 2000 runway but the print on the silk was shown in the Fall 1990 Haute Couture collection. I have included a reference photo of both of those for you. I love the idea that the client had this dress made but somehow saw or remembered the print from a full ten years before this and asked to have it made in that earlier print. It just shows how much love and care goes into couture and how it is truly made for each individual client. Hanae was the first woman of Japanese descent to have presented on the Paris and New York Runways and the first Asian woman to be admitted as an official Haute Couture house to La Chambre Syndicale de la Couture Parisienne. Haute Couture examples by her are a rare find and this one is exceptionally beautiful. With its level of customization it is most certainly the only one that would have ever been made. 

The dress is entirely made by hand and is stunning. It is suspended from the shoulder by two tiny silk straps. These curve over your shoulders and meet the peaked bodice at the front and the dropped edge at the back. The bodice is hand draped to create soft folds that follow the curving angle of the panels. I love how she has mixed two shades of silvery greys there. The front is set in high peaks above the breasts and it dips at the front into a V. It then curves around the back to leave the upper back exposed. The silk hugs in and around the lower back. The skirt is set into that structured bodice giving it a touch of an empire feel. It has one of her custom designed prints screened onto feather light silk layers on both the exterior layer and on the inner dress. The print is a beautiful forested mountain scene that is done in grey-scale. This runs from the hem to to about the hips all around the dress. In the ivory above the forest print you see her signature butterflies floating on the imagined air currents. Some of the butterflies are almost ghostly in the way that they are printed onto the silk and they are incredibly beautiful. The scene is printed on both the silk chiffon top layer and the silk twill inner layer. This allows the two prints on each layer to be slightly offset as they float over each other giving the print an extra dimension of depth. Doing this layered technique is one of her signatures. By using a slightly transparent silk chiffon for the top layer she also builds in that sense of lightness that the dress has. The skirt widens out as it nears the hem as the front and has a softness to it as the chiffon floats over the inner layer. At the back it is cut longer then the front and flows down and past the ground beautifully. The movement and drama this creates is extraordinary. This dress came with a huge single layer silk chiffon shawl that has that same forest and butterfly print screened onto it. It is so large that it creates a caped effect if you decide to wear it simple draped over the shoulders. You could wrap and style it many different ways for different styling effects. It just adds to the air floating feel the dress has and it is wonderful to have this little extra bit of romance. The dress is a stunning example of her work and beautifully made. Finding her true couture pieces is rare. This would even make a beautiful wedding dress for someone looking for something non-traditional. Excellent condition

Fully lined in a hand set cream silk. It has a fully built in inner boned bodice that closes with its own independent zipper. A second hidden set zipper closes the exterior. The top silk chiffon layer of the skirt hides the zipper below it and closes over the zipper with her signature teeny tiny fabric covered snaps. An inner waist stay hooks to close. Hand finished throughout to Haute Couture standards. The proper Haute Couture label is present and it has its hand written couture tape underneath marked #C 1109 5.4.2000. There is the very faintest of tiny marks to the silk just below the waist line. Perhaps the tiniest of pulls to the fabric here and there and a small bit of scuffing to the inner lining of the train. Please see the photo after the label shot for the exterior mark noted here. All minor and other wise is appears to have been worn very little if at all unworn.

Bust: 18" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Hips: to 20.5" flat across from side seam to side seam
Bodice: 15.5" from top of bodice to waist
Skirt: 44" from waist to shortest point of front hem, 59" to the back hem
Shawl: 36" x 124"

Modern Sizing Equivalent: MED-LRG

Item# DD3020

Reference Photo: (1) Hanae Mori F/W 1990 Haute Couture Collection.  /  (2) Hanae Mori S/S 2000 Haute Couture Collection. (3-4) Cherie, Owner of Shrimpton Couture, by Erin Leydon. Cherie is wearing a Magnetic Midnight X Shrimpton Couture 'Shooting Stars' Headpiece - available on the site here >

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

This gorgeous dress is by Alfred Bosand who was really one of the great American designers whose clothes where made to couture levels with lots of hand finishes and detailing to them. Bosand started his career after World War II by attending the Fashion Academy, New York City. He then worked with several designers before launching his own label. By the time he returned in 1986 he was one of New York's last privately owned couture designers with his own label. His work is of very high quality. The dress is unlabeled but I have had a few dresses in the shop now that share this same fabric and cut. 

Bosand dresses always have a sense of romance to them and this dress with its matching caplet is no exception. Both pieces are constructed from a lightweight silk net that has little dots woven through it. The top netted layer sits over an inner silk layer that is a pale mint green with just a touch of a grey tone to it. The overall effect is not quite grey, not quite ivory and not quite green. The photos come close but in person it is more towards an off-white in feel. The entire top of the bodice is covered in a iridescent sequins that are all hand applied. They are set so that they are more densely applied towards the empire seam and then scatter up to the neckline. The dress is suspended from two tiny straps that curve over the shoulder. The bodice is kept simple with a low scooped at both the back and the front and a high seam under the bust. From the empire waist the skirt cascades to the floor and widens out quite a bit as it nears the hem. There are yards and yards of fabric in the skirt and it is made up of three layers, the top net layer that then floats over an inner silk chiffon layer. Under those two layers is an ivory silk satin lining. The dress comes with its original matching caped scarf piece. This has a built in collar that hooks to close and has the same sequin application over it. It is cut to end just at the empire waist seam at the front and then hangs with long panels that trail over each arm and around the back all the way to the floor. It is incredible and when you move it catches the air and moves beautifully. Excellent condition. 

The skirt is fully lined in an ivory silk satin with an additional layer of a pale green silk chiffon between the skirt layers. The bodice is lined in a silver grey silk. The cape is unlined. The dress closes with a back painted metal zipper and the cape closes with two hook & eye at the collar. Hand finished throughout. There is the teeniest bit of grubbiness feel to the straps.

Bust: 18" flat across from side seam to side seam
Empire waist at seam: to 16" flat across from side seam to side seam
Inner hips: to 21" flat across from side seam to side seam
Bodice: 12.5" from top of shoulder straps to seam under the bust
Skirt: 46" from seam under the bust to hem
Cape: neck is 13.75" around and you could move the snaps to get it to 14". It falls 12" at its shortest length at the front and 59"to the longest length

Modern Sizing Equivalent: SMl-MED

Item# DD3646

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

Oscar was known for his beautiful and feminine designs but this dress also displays his talent for mixing a touch of a sportswear feel into a full on gown. With our modern day obsession with all things eighties and nineties this play on proportions and fabrics still feels extremely of this moment fashion wise. Oscar had an amazing sense of aesthetics and his genius was in making women look and feel beautiful. This is the type of dress you can easily imagine in an editorial of the day on one of the reigning supermodels.

I love the combination of the soft grey cashmere bodice that tops a voluminous silk taffeta skirt. The play on the two fabrics together is very chic. The neckline is scooped at the front and then the bodice skims over the bust and waist. The sleeves are long and the fabric makes the entire top feel and look cozy to wear. The dress comes with its original matching silk covered belt that lets you nip in the waist as much as you want. The skirt flares out from the waist in a beautiful curve of volume. The skirt is finished in a fine stripe that I love. Inside the interior of the skirt there is an additional underskirt of silk that has a stiffened band built into the hem. This helps in part to keep and hold the shape that you see but most of the volume is created by the gathers where the skirt is placed into the waist and with the cut of the skirt itself. When you move the skirt shows it volume and movement beautifully. I love that he has built in pockets on either side of the hips. Yet another subtle nod to that mix of high glamour and sportswear that the dress has. The dress also come with its original huge square cashmere shawl that you can wrap around you if the evening is cool. Excellent condition with a minor note below.

Fully lined in a grey silk through the bodice that extends into an interior skirt. The skirt is also interlined in a silk organza. The interior silk organza lining has a stiffened band around the hem. It closes with a back zipper. The belt is a slip buckle and shows light grubbiness on the buckle. Light padding in each shoulder. There are tiny breaks/grubbiness here and there at the edge of the hem. Please see the photo after the label shot. 

Sleeves: 23"
Shoulders: 15.5"
Bust: to 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 60" from natural neck to hem
Skirt: 44" from waist to hem
Shawl: 60" x 102"

Modern Sizing Equivalent: SML-MED

Item# DD3623

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

This is a lovely dress by Reem Acra who for twenty years has been producing ready to wear and bridal collection. Her pieces tend to combine traditional elements with modern aesthetics and her work can be very beautiful. This was shown on the Spring 2006 runway with a slightly different bodice and then a version with sleeves and upper shoulders was used for the Bridal campaign ads that year and that one matches the bodice of the one I have in the shop today. 

The dress is very simple in cut and very flattering. It is made out of a pale silver grey silk chiffon through the skirting and then the bodice is a silk satin that is covered in a combination off seed beads and prong set rhinestones. The strapless bust is set in a high empire line and it is meant to be fitted and just cover the breasts. It is boned and formed inside to created that banded effect and to keep it in place. On to this is a lovely and intricate design that covers the entire bust all the way around. The design combines the tiniest of silver seed beads with small rhinestones. These catch the light and add a bit of glamour against the grey silk chiffon. Under the bust the skirt falls to the floor in a cascade of silk chiffon. It is feather light and made up of multiple layers of silk. There are two top layers of silk chiffon and then under that are two more layers of a silk dyed to the exact same colour. There are lots of little details that portray its high end origins. Each of the two pairs of layers of skirting are attached by little slips on the side so they hang perfectly in place. And at the back each layer closes with its own zipper and closure. It is very beautiful and even better in person as the camera doesn't quite capture the right shade of soft grey that it is or the glimmer of the rhinestones as they catch the light. It appears to have never been worn or worn very little. Excellent condition

Has a built in inner corset through the bust that is boned and closes with a back zipper. Another zipper closes a layer over that and then the outermost layer snaps into place. It appears to have never been worn or worn very little.

Bust: to 17" flat across from side seam to side seam
Seam under the bust: to 16" flat across from side seam to side seam
Hips: open
Bodice: 5.5" from top of bodice to waist
Skirt: 46" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3573

Reference Photos: (1-2) Spring 2006 Reem Acra Runway Collection.  /  (3) 2006 Reem Acra Bridal.

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 lines of this dress are pure Yves Saint Laurent for this time period. It is just extraordinary. For the skirt of the dress he has used a silver grey silk taffeta. This fabric choice gives it the volume that you see and helps to support the edging that circles the entire hem. For that he chose a black, sequin detailed lace. This same sequin and lace fabric was then used for the bodice. The dress is suspended from the shoulders by two thin silk ribbons. I love this detail because it gives you the option to tuck those in and wear this as a strapless piece if you wanted. The bodice is fitted and covered in a black silk lace netting over a silk organza. Black sequins have then been applied by hand to highlight the curving design underneath. This same fabric as been used all around the hem where it has been used in a single layer with no lining backing it. This gives you a touch of transparency that is very sexy. Some parts of the skirt are actually cut quite high up the leg when you just look at where the grey silk part falls to and this transparency gives you a flash of skin behind the lace. The skirt is very full so that when you move you get a lot of volume and movement. A long silver silk sash wraps and ties to cinch in the waist. It also comes with its original matching wrap. This is very large and finished with a wide ruffle all the way around. This is a dress that is even better on an actual body and moves and feel fabulous once on. Excellent condition with a couple of minor notes below

Fully lined through the bodice with a black silk and the grey part of the skirt has a black silk chiffon inner skirt. It closes at the side with a metal and nylon zipper. Tagged a vintage YSL 42. There is a faint mark on the side of the skirt near the seam and bottom of the grey part of the skirt that you only would see if you lay it out flat as I have. The straps show a bit wear and fraying at their very tops. Please review the first two photos after the label shot. The matching wrap has a small blue mark near a seam and there are some watermarks/scuffs to the fabric. These are shown in the last two shots. All of these are minor.

Bust: to 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 17" from top of shoulder to waist
Skirt: approx 42" from waist to longest points and approx 25" to shortest
Shawl: 57" x 46"

Modern Sizing Equivalent: SML-MED

Item# DD3342

Reference Photo: (1) F/W 1981 Yves Saint Laurent Runway Show.  /  (2) Model in Yves Saint Laurent F/W 1981 Rive Gauche Collection. Photo by Helmut Newton. From the book "Yves Saint Laurent: Icons of Fashion Design" by Schirmer/Mosel.  /  (3) Andie MacDowell for Yves Saint Laurent, photographed by Helmut Newton, 1981.

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 duo behind the La Mendola label met in Rome in 1960 and started their business making dresses and selling them one by one, piece by piece. In 1967 they opened a shop and women like Elizabeth Taylor and Rita Hayworth become steadfast clients who were buying, and even wait listing for pieces as they were produced. They were located in Italy and their atelier closed in 1974.

The prints that you see on the La Mendola pieces were all done in house. This one is suggestive of long feather rows and it has been screened onto a beautiful silk jersey fabric that is gorgeous and easy to wear. It is also a fabric choice that takes the colour and print of their designs exceedingly well. The set is made up of three separate pieces, a dress, a matching cape, and a turban. The dress has a simple scooped neck and an equally simple cut through the bodice and sleeves. It skims over the waist and then gradually widens out as it nears the hem. The simplicity of the design is a backdrop to how the printed fabric is set to make the the dress. You can see how beautifully it lines up at the centre seams. Over this is goes a cape made in the same fabric. The cape has soft rounded shoulders and slits at the front that you can put your arms through. It is cut to end just below the hem of the dress under it and it is a study of refinement. To tie it all together the set comes with a simple matching turban. Each piece is simple and elegant and when worn all together it makes a dramatic statement. Together they are absolutely beautiful. Excellent condition with one minor note below

All the pieces are lined in a black silk. The dress zips to close at the back and the cape closes down the front with a series of buttons. Hand finished throughout. The top button on the cape is missing its black cap that the others have as shown in the final photo

Dress
Sleeves: 24.5"
Shoulders: 15"
Bust: 18-21" flat across from side seam to side seam
Waist: 16-18" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 40" from neck to hem

Cape
Shoulders: no true seams
Length: 42" from neck to hem

Turban
23" around with slight stretch 

Modern Sizing Equivalent: SML-MED

Item# DD3495

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

James Galanos was known as the designer that could rival the French in terms of construction and design. He launched his atelier in 1951 and though he was never a designer that was formally made a couture house he certainly produced clothing with many of the hallmarks that define couture, thus giving him the status as being known as one of the 'American Couturiers'. 

The dress is constructed from a very unusual fabric combination that gives it that ethereal feel. A layer of a beautiful lightweight silk  is covered with a layer of white silk chiffon. This is done both for the outside and the full interior. The unexpected luxury of this would not even be able to be economically done now. The three layers are completely attached at all the seams. The print is on the innermost silk layer. The entire dress is cut on the bias and as the white chiffon moves over the inner layer in the small way that it is allowed, you get this pretty and romantic diffused feel to the print. It is such a simple but extremely clever way to create an extra layer of softness. The print runs over the entire dress and as it is on a body and it moves it just gets prettier. The dress under the attached cape is very simple. It is cut to skim over the bust, waist and hips and then flares out on all sides to the hem for a pretty volume when you move. The back of the skirt is cut slightly longer then the front. The skirt actually has a lot of fabric in it, falling softly and in a more sleek way when you stand still and then really moving and showing how much is there when you move. All of the seams are vertical and have been done by hand. This vertical seaming really helps to add to the feel of length the dress has. Around the neckline is an attached caped panel of the same silk & silk chiffon. Here the fabric is finished in the same way as the body of the dress with that same attached layer of weightless silk chiffon on the top and then it is also finished that same way underneath. This floats over your shoulders, arms and then curves around and behind the body for a beautiful caped effect. The lightness of the silk there gives it a billowing effect when you move and walk that is stupendous. A really lovely and romantic dress that is even better on the body and in real life. Excellent condition with one small note to review below

The innermost layer of the silk chiffon as per the description above acts as the lining. It closes at the back with a hand set metal and nylon zipper and a silk covered button and loop at the back neck. Hand finishes throughout. I see two teeny marks on the front cape. They may come out with another round of cleaning. Please review the photo after the shot of the label. It looks to have been worn very little otherwise.

Bust: 17-18.5" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 56" from neck to front hem, 58" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD3404

Reference Photos: Cherie, Owner of Shrimpton Couture.

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

This extraordinary dress by Marc Bohan for Dior is very well documented. A version walked the catwalk that season worn by none other than Ines de la Fressange and it was also photoed for the August issue of L'Officiel.

The dress is made from a pale silver grey silk taffeta. This fabric choice allows it to keep its bold silhouette and hold the shape that you see on my photos and the reference photos. This is the kind of dress that you can see just how much of an influence this shape is still having on our current catwalks. I feel that I have seen all the elements of the dress re-done in one way or another over the last few seasons. The shoulders and sleeves are particularly wonderful. They are cut on a slight curve to follow the shape of the arm. Pleats are set all around the shoulder to give them the height and volume that you see. They then narrow down to the wrists. You can see the Victorian era influence on this dress but it still feels fresh and modern. The neckline is high and buttons at the back and the bodice skims over the bust to the waist. At the back there is an open slit that runs all the way from the buttons at the neck to the waist. This sexy little flash of skin is unexpected and I love the contrast this detail has with the high level of coverage the dress has everywhere else. The waist is seamed and the dress has its original wide matching sash in the same silk that you can tie and cinch in the waist even more. I have tied it at the back in the same large bow in the way it was shown in the editorial photo. The skirt skims over the hips to the floor. On either side of the waist a large ruffle starts to form and this curves over the hips and then towards the back where it creates a gorgeous trained effect. A small ruffle peeks out from under there and finishes the front hem. It is gorgeous and I love when a piece is this well documented. Excellent condition with a minor note below

Unlined and closes at the back with a zipper set at the waist and silk covered buttons and loops at the back of the neck. A silk covered button and loop at each wrist. The matching sash is original. Note that it was a little small on the mannequin in the waist area and the opening is not that wide at the lower back when it is on a girl that it fits properly. There are some watermarks on the hem. Please see the photo after the label shot and before the reference photos.

Sleeves: 27"
Shoulders: no true shoulder seams
Bust: to 17.5" flat across from side seam to side seam
Waist: 11.5" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: 15.5" from neck to waist
Skirt: 42" from waist to front hem, 46" to back hem

Modern Sizing Equivalent: XXS-XS

Item# DD3406

Reference Photos: (1) Ines de la Fressange for Dior /  (2) Model in Christian Dior, L'Officiel, August 1981. Photographed by J-F du Sel des Monts.

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

This dress is stunning. It is a full length dress from her ready to wear line launched in 1970. Mollie hired designer Morty Sussman to do the initial designs and then approved everything he did before it went into production. The dress is made from a lightweight silver lame knit jersey that has a pewter undertone to with the black that is mixed in with the silver. Onto this are thousands of tiny silver sequins that have been sewn into place so the entire dress gleams in the light. These are placed flat on the fabric and cover the entire dress head to toe. The neckline is notched and the sleeves are cut long and straight. The waist gas a looser feel and it comes with a belt accented with a bow that you can use to cinch it in more if you choose to. The skirt falls to the floor under that, softly widening out as it near the hem. Excellent condition.

Unlined and closes with a back painted metal zipper. The belt hooks to close and it would be easy to adjust the hooks if needed. Note that in person it is a touch more a true silver feel then the deeper grey it photoed as. The label shot is the closest to the actual color in real life. The fabric has a touch of stretch

Sleeves: 24"
Shoulders: 15"
Bust: 17-19" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Bodice: 15" from top of bodice to waist
Skirt: 43" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3364

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

This is the ready to wear version of what walked the runway for the Fall 1992 Haute Couture show. The runway version was leather and fur but here he has decide to go full on faux. The sleeves are magnificent and have all the fullness and impact of the couture version. They are incredibly full and made of a black faux fur that is glossy and thick. The body of the coat is a textured chenille velvet that does an incredible job of mimicking astrakhan. This is achieved by the swirling fabric and palette of greys and blacks. The neck line is high and the body of the jacket is cut in a straight line. It closes down the front with buffed wooden buttons. The sleeves are the star if the show and each is a full 24" around at their widest points. The come on at the wrist and I love the contrast between the two colors and the statement the strong black sleeves make. Such impact. Excellent condition.

Fully lined in a black silk satin and closes at the front with a row of carved wood buttons. Pockets on each side. It appears to have been worn very little, if at all.

Sleeves: 25"
Shoulders: 15"
Bust: 18.5" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: 21" flat across from side seam to side seam
Length: 26" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# C531

Reference Photos: (1) Yves Saint Laurent Fall/Winter 1992-1993, Paris, France.  /  (2) Cherie, Owner of Shrimpton Couture.

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

A version of this jacket in the same unique colour as this one was featured in the Rive Gauche catalogue from the runway show. This version is not as flashy with the gold but the braiding and leather used is more extensive and feels more timeless. Its a wonderful example of his work during this period

If you are looking for full on luxury, then this is the jacket for you. It's timeless lines will go with almost anything and it is made from a rich, thick, luxurious cashmere with just a touch of wool added for structure. It is a beautiful fabric clad so soft and warm. The colour is amazing - it is a deep greyish purple but has just a touch of an undertone colour to it that seems to take on different hues in different lights - sometimes more black, sometimes a hint of blue and sometimes a deep purple. We have managed to capture it pretty accurately in these photos and it is even better on person. The shoulders are squared off and the body is cut to have a suggestion of shape at the waist. Pockets sit on each hip. The finishing details add to the rich feel of the jacket. All of the edges are finished with a thick, flat braided cord. This circles the hem, runs up the front and around the notched collar and finishes each cuff. At the front, the jacket closes with huge braided leather loops that fasten over big leather buttons. Each sleeve has two more of those huge buttons and the buttons holes there are functional which shows the high quality of the piece. It looks to have never been worn or worn very little. Excellent condition

Fully lined in a deep midnight purple silk and closes at the front. Tagged a vintage YSL 36 but has a very oversized cut that shouldl allow it to fit a variety of sizes depending on how you want to wear it.

Sleeves: 23"
Shoulders: 17"
Bust: 21" flat across from side seam to side seam
Waist: 18.5" flat across from side seam to side seam
Hips: 21" flat across from side seam to side seam
Length: 28.5" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# S788

Reference Photos: (1) F/W 1984 Yves Saint Laurent Catalogue.

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