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 is perhaps one of the most recognizable dresses that Halston ever designed. Halston used this sequin technique predominantly between about 1973 to 1978. Instead of layering and overlapping the sequins, they were laid out flat, side by side, to cover every inch of the fabric. This dress is sometimes dated as being from 1983 because of the photo I have included here of Dina Merrill wearing hers but people forget that these were still the days where you re-wore pieces from tour own closet. Every source I have seen, including The Metropolitan museum and numerous high end auction houses have dated it to 1973. This is a stunning and rare version of one of his most famous dresses and it could not have more of an impact once it is on. It is beautiful

1973 was also the year that Halston won his fifth Coty Award and was one of his best years to date. This dress, with its gorgeous cloud print is both rare and iconic. I have the twin of this exact dress in my archives and it is one of my own most cherished pieces. I was extremely happy to have another come in that I could put into the shop for you. The base of the dress is made from a stretch jersey as the inner layer and the outer layer is the same fabric that has that wonderful cloud design printed on to it. That outer layer is what the sequins are attached to. The sequins have all been placed and attached by hand and completely cover the dress from shoulder to hem. The sequins are a clear with an iridescent finish reflect back the light beautifully. This makes the dress absolutely incredible to see in person. They also make the dress feel almost alive as it skims over the body and the the light reflecting off the sequins makes it really come to life. It skims over the bust and waist, hugs the hips and then flares out slightly as it nears the hem. That neckline is scooped and rounded. The openings for each arm are also cut on a curve and this creates the slightest bit of a capped shoulder and sleeve effect. It is amazingly comfortable to wear because the jersey and the stretch of the jersey also make it easy to fit. Excellent condition with a note below.

It closes with a hidden set, side zipper and the fabric has stretch. Fully lined in a white stretch jersey as described above. Hand set sequins. There are some sequins missing at the back about where your knees would bend and just above when you sit. There are sequins in the inner seams that could be used if this bothered you. It is so densely covered that its somewhat irrelevant. It is priced with this in mind. Please review the two photos after the label shot. The stretch of the fabric should allow it to fit a range of sizes and the measurements below are the comfortable range when lying flat.

Bust: 16-18" flat across from side seam to side seam
Waist: 13-15.5" flat across from side seam to side seam
Hips: 19-22" flat across from side seam to side seam
Length: 53" from shoulder to hem with approx 2" turned up under the hem

Modern Sizing Equivalent: XS-MED

Item# DD3374

Reference Photos: (1) Dina Merrill at NBC studios, Burbank, California, February 1983. From the book 'Halston' by Phaidon.  /  (2) 1973 Halston Dress from The Met Collection Online.  /  (3)Halston Dress from The Indianapolis Museum of Art.

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 Andre Laug label launched in 1968 in Rome. Laug was one of the grand Italian Couturiers who would now be considered to have designed "Alta Moda" the Italian equivalent of Haute Couture. He apprenticed under Nina Ricci and was the designer behind the first "Mademoiselle Ricci" collection in the summer of 1961. From there he freelanced, working for both Philip Venet and Andre Courreges. His clients included Audrey Hepburn, Jacqueline Kennedy, Diana Ross and countless others.This dress is numbered with one of his couture tags and dates from the late 1970s to the early 1980s.

Here we really see the attention to cut and details that his atelier was known for. Woman loved his clothes for their rich fabrics and attention to tailoring, but always with a refined and reserved beauty. This dress is a stunning example of that aesthetic while still taking into account the impact of using neon brights and sports related looks that was heavily influencing fashion during this time period. The entire dress is hand covered in a sequins. The sleeveless bodice uses clear sequins that allow the soft dove grey of the silk used for the bodice to show through. On the skirt the sequins are finished in an almost neon orange backed by a matching orange silk bodice. The waist is set low and dropped. This is then further detailed by a heavy embellishment of beads and more sequins, this time set on their sides so they have a more 3D feel to them. The neckline is scooped at the front with a wide silk border finished in a slightly different shade of grey. The waist has just a suggestion of shape and the skirt falls to the floor from there. The color in the skirt especially is exceptional - it is far brighter and crisper then how it photoed and really phenomenal in person. Excellent condition.

Fully lined with a hand set fine white silk chiffon. It closes with a back painted metal zipper.  Hand finished interior seams throughout to couture standards. Beautifully constructed. Couture numbered tag present.

Bust: 17" flat across from side seam to side seam
Natural waist: 15" flat across from side seam to side seam
Low drop Seam at the band: 17.5" flat across from side seam to side seam
Natural hips: to 25" flat across from side seam to side seam
Bodice: 20" from top of shoulder to top seam of low waist band that is 1.5" wide
Skirt: 42" from top of low set waist band to hem with 2.5" turned up

Modern Sizing Equivalent: SML-MED

Item# DD3373

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.

I am so in love with this dress. The lines of it are pure Yves Saint Laurent for this time period and it is just extraordinary. The dress is made from a combination of a deep silver grey silk taffeta that he has used for the body of the skirt and the matching ruffled shawl, combined with a black, sequin detailed lace bodice. That same sequin lace is also used to finish the lower part of the skirt's wide hem. The dress is suspended from the shoulders by two thin silk ribbons. You could also easily tuck those in and wear this as a strapless piece if you wanted. Under those straps the bodice is covered in a black silk lace netting that has a secondary design made from applied silk organza to give it a 3D feel. Over this are black sequins that have been used to highlight the design created by the silk and netting. The bodice is backed with a black silk but on the hem of the skirt, where the same fabric has been used to finish it, it is not backed. This gives you a touch of transparency there that is very sexy as 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. The skirt itself is extremely full so that when you move you will get a lot of volume and movement. It has a long matching silver silk sash that cinches in the waist as much as you wish. It also comes with its original matching shawl. The shawl is very large and finished with a wide ruffle all the way around. As good as it looks on a dress form, on a real body it really comes alive. 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 some wear and fraying at their very tops. Please review the first two photos after the label shot. The shawl 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 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: Model in Yves Saint Laurent F/W 1981-82 Rive Gauche Collection. Photo by Helmut Newton. From the book "Yves Saint Laurent: Icons of Fashion Design" by Schirmer/Mosel.

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

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 representative of just how wonderful his work could get. The bodice above the lame tie that wraps around the waist has high capped shoulders and a puffed short sleeve with lots of volume. The silk used is a high quality silk taffeta  and the color is an incredible blend of a silver toned grey with that wonderful black floral print that covers the dress. This sits above that incredible waist detail. Attached at the waist are long ties made of a semi-transparent metallic sill lame. An inset panel of that same fabric anchors the ties and create a block of color that accents your middle. As the long ties wrap around the body the layering of them make the fabric opaque but where this fabric connects the upper bodice to the skirt you do get a glimpse of skin under the fabric. You can style the ties to take advantage of that or tie them so that it completely cover it. This play on transparent cut-outs is a staple of Beene's work that you see in his early work but here he takes it to a more sophisticated level. Below the waist the printed silk continues and fall to the floor in a cascade of silver and black. Yards of it are used in the skirt so when you move you can really get a sense of its fullness. I love that the underskirt has an edging done in a wide panel of is black lace. When you move or sit you get just a peek of it. Excellent condition.

The skirt is fully lined in a black silk chiffon that is edged with a wide panel of black lace at the hem. The bodice is also lined in a black silk chiffon. It close with a series of fabric covered buttons down the back and a low back zipper. Inner waist stay that hooks to close. Each sleeve has elastic in its cuff. The ties are attached and you can wrap as you wish. 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
Waist: 13" flat across the back from side seam to side seam
Hips: open
Bodice: 16" from shoulder to bottom waist seam
Skirt: 40" from waist seam to bottom hem

Modern Sizing equivalent: SML-MED

Item# DD1904

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 superb cape that is made from a grey wool and is cut to be full length and will tremendous volume through the cut. The lines are easy and the weight of the wool allows it to fall from the shoulders in a swoop of fabric that falls to the floor. It is constructed from a steel grey wool that is warm and does have a decent weight to it, but is not so heavy as to be cumbersome when on. It hooks at the neck with a large hook & eye and is open below that to allow for the maximum movement.  The detailing on it is incredible - it has a hand set braided cord in two shades of grey set in an intricate pattern that follows the collar and then runs down both sides of the front. Presents as excellent condition with one note below to review

Unlined with ribbon finished interior seams and closes with a hook & eye at the neck. There are a couple of teeny nips - I have photoed them. Otherwise no issues. It has been specialty cleaned and temperature treated to Museum standards.

Length: 58" from neck to hem

Modern Sizing Equivalent: OSFA

Item# C448

Reference Photos: Cherie, Owner of Shrimpton Couture, by Erin Leydon. (See more on Instagram)

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 near twin to this haven’t was featured in the Rive Gauche catalogue that season and also walked the runway that year. The version I have does nit have as much if a contrast between the cashmere and braiding and I prefer it  this way. It is an exception piece of his work.

If you are looking for full on luxury this jacket has it in spades. It is made from a rich, thick cashmere with just a touch of wool added for structure. It is so soft and rich looking. The color is also amazing - it is a deep grey but has just a touch of an undertone color to it that seems to take on different hues in different lights - sometimes more black, sometimes a hint of blue and sometimes the feel of eggplant. The shoulders are squared off and the body is cut to skim in at the waist. Pockets sit on each hip. The finishing details just add to the rich feel of the jacket. the out edges are finished with a thick, flat cord and silk braiding and this circles the hem, runs up the front and around the notched collar and finishes each cuff. It closes with huge braided leather loops that fasten over big leather and cord topped buttons. These are not true frog knots but have that feel. Each sleeve has two more of those huge buttons adorning it and the buttons holes there are functional. The cashmere is the highest level and it looks to have never been worn. Excellent condition

Fully lined in a deep midnight purple silk satin and closes at the front as shown. Tagged a vintage YSL 36 but the oversized cut will 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.  /  (2) Yves Saint Laurent Jacket, 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 is an amazing and classic feeling suit from the Yves Saint Laurent Haute Couture atelier. I have put that it as from the 1980s but the estate it came form was chock full of pieces dating form the late 1970s to the early 80s so it could be a little earlier. It is a chic silhouette with a classic jacket dropped to the top of the hip and a fitted skirt that lands above the knee. The fabric is beautiful and has the feel of a man's suiting, a play on gender that Yves did often. Both the jacket and skirt are constructed from a grey herringbone with grey velvet derailing at the collar and cuffs. It is cut perfectly, with a slim shoulder, a slim notched lapel. The jacket is fitted and follows the curves of your body with two pockets that sit on the front of each hip. The skirt is also fitted and cut above the knee for a subtle sexiness that contrasts the fabric choice with belt loos that match the belt. Excellent condition.

Both pieces are hand lined in silk and the suit was made entirely by hand in the YSL atelier. The jacket buttons to close and the skirt closes with a couture set zipper and hook & eye at the waist. It has it's matching belt. Numbered Haute Couture label 050937

Jacket
Sleeves: 23.5"
Shoulders: 14"
Bust: 16" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 24" from neck to hem

Skirt
Waist: 13" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 19.5" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2757

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

In 1981 Haslton was still in full control of his brand. He had not yet signed the international licensing agreements (that was to happen in 1983) that would be the beginning of his downfall. In fact, at this point in the Halston history, he was at the top of his game and anyone who was anybody was wearing the Halston label. His prices were sky high and the work put into the pieces was impeccable.

The fabric for his beaded and sequin pieces were being made in India. Halston personally chose the fabrics and materials that were used for each piece of his main line collections. The 1981 collection was especially intricate and the majority of the runway garments were heavily beaded and/or sequinned. This jacket is gorgeous. It is made out of a cut work silk organza done in silver. The pattern is held together by looped stitching that run between the pieces and leave a hint of skin peeking through where there is an open space. Over this, and following the design, is an edging of silver glass tube beads and miniature pearls. These have all been hand applied and individually placed to give the jacket a swirling organic feel. In the book Halston, published by Phiadon, a similar piece in red is shown on Katherine Graham, the American publisher who led the Washington Post for more then two decades. Also from that book is a photo of Halston with models from the 1981 show and you can see the girl in the gold wearing a similar piece, belted with a sash, and worn over a skirt. That same book also had the orignal sketch of the piece too. Excellent condition.

The body of the jacket is fully lined in a grey silk chiffon and it closes at the front with hook and eye. All the work is done by hand.

Sleeves: 21.5" approx.
Shoulders: no defined seam
Bust: approx 19" flat across but no true side seams due to the cut of the arm
Waist: to 17" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 22" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# S733

Reference Photos: (1) Spring 1981 Halston Illustration by Michelle Dowgin. (2) Halston with models, December 7 1981, photo Ron Galella.  (3) Katherine Graham, October 29 1981, photo Globe photos (all from from Halston book published by Phaidon)  /  (4) Amanda Lee Shirreffs by Erin Leydon.

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