In the 1980s and 1990s Gianni Versace ruled the catwalks. He was the favourite of the Supermodels and they were featured predominately in his runway shows and his ad campaigns. Versace launched his label in 1978 and in 1989 he presented his first couture collection. The days that Gianni headed the label were heady, glamourous ones and set the tone for the label as we know it today. He remained at the helm of the brand until his death by assassination in 1997. This is from those years in the 1990s when the label was everywhere and everyone wanted to own and wear a Versace. Vogue recently added this show to its runway archives and in the show notes Gianni was quoted as saying; 'To use art in a flat way, without creative intervention, is in bad taste. I mix it up'. Also of note is that this was one of the collections that Donatella pulled from when she re-issued some looks for her Spring 2018 collection which commemorated the 20th anniversary of her brother’s death. 

This suit is the exact twin of the catwalk one and I am pleased to have some runway footage of the suit here for you so that you can see how it looks and moves once the body. You will note that for the runway they folded the tops of the pockets down. I lightly steamed them to match for one photo here but I prefer them they way they look when they lay out fully flat so you see every bit of the detail on them.  They also feel more 'naughty' that way. It was  belted for the show and it would be easy to add your own belt to get that same look if you wished. The suit is so very Versace. It is sexy and bright and you won't be missed by anyone once you have it on. Both pieces are made for a bright vivid lime green silk that is a touch brighter and more true then how it photoed here. It is stunning in person. The silk has a paisley design in a slightly more matte thread to give it this interesting tone on tone pattern.  The skirt is short and fitted with a flat front and no waist band. It is cut to curve up and into the waist so that it follows the curves of the body. The jacket goes over this and is cut full through the shoulders and bust, comes in at the waist and then sits snug over the hips. The epitome of the nineties silhouette.  Each sleeve is long and ends in this interesting flared cuff that end with a single gold toned metal button. You can wear the cuff long or flipped up like you see in the runway shot. More of the same buttons run down the front of the jacket to close and all of the buttonholes are done in the proper dressmakers technique. The collar is notched and simple. The jacket closes high enough up the front that you can easily wear it on its own without having to wear a top under it. The pockets are the star of the show. There are four and each is a round circle that has been top stitched. Of course the placement of the pockets on the bust have that very risqué feel to them and it is what gives the suit that shot of Versace sexiness. It is wonderful and very rare. It looks to have been worn very littlee if at all. Excellent condition 

Both piece are lined in a green silk. The skirt closes with a hidden set zipper and the jacket buttons to close. The jacket is light padded through the shoulders and all of the pockets are functional. Tagged a 38. Amy colour change or little bit of yellow in the shots is just the lighting and camera. It is is perfect in person. 

Jacket
Sleeves: 23"
Shoulders: 14"
Bust: 17.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 36" from neck to hem

Skirt
Waist: 12.5" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 18" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3864

Reference Photo/Video: Spring 1991 Versace Runway Collection, Look 53.

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 exact twin of this dress was shown on the Spring runway in 2006 for Look 37. 2006 was an important year in Oscar's history. This is the same year that Parsons awarded him with the Lifetime Achievement Award at their 58th Annual Benefit and Fashion Show. In Vogue's review of the collection journalist Nicole Phelps said in part; 'After last season's Russian sojourn, Oscar de la Renta returned to his Latin roots for spring. And why shouldn't he? In the 40 years he's been in business (he celebrated the anniversary this year), regular flamenco infusions have served him well. With the Williams sisters, Eva Longoria and Candace Bushnell watching from the front row, de la Renta played to his strengths: flounces galore, toreador jackets, and a spicy palette of marigold, red, and warm neutrals, often finished off with a smattering of crystal embroidery. For day, wooden beading at the hip or contrast piping along seams gave classic silhouettes a sprightly flare....All told, an Oscar collection is like a trip to the Prado. Faced with such an embarrassment of riches, it's too easy to miss the many fine things.' This is one of those gorgeous pieces that have that latin flare and flounce and it was one of the best in the show 

On the runway the dress was worn by model Maria Fuema and it was styled with maximum simplicity. It was just Maria in all her beauty in this beautiful dress. Her makeup was barely there and they did not even add an earring to detract from her or the dress. It was a stunning moment and I am happy to have the runway clip included here so that you can see just how beautifully the dress moves with its flouncy lower skirt. We also found a photo of the dress on Jessica Simpson and we were especially happy to find a photo of the dress on her with Oscar himself. 

The fabric that the dress is made out of is very unusual and combines several elements. Through the body of the dress is a green silk organza and then this is covered in stripes made of embroidery, netting, lace, grosgrain and silk ribbon. The skirt is made of a series of overlapping tiers done in a silk organza that have been edged in a white thread and then detailed with circles of white sequins. I have taken close ups for you because the fabric is just incredible and all the small details in it add to the overall beauty of the dress. The fabric is just heavy enough to be able to hold the shape that you see but is still light enough that it moves wonderfully. The bodice is strapless and shaped to accentuate the bust. There is a full built in cupped corset inside the dress for support. The waist nips in and then continues to hug the body to past the hips. Below that the skirt is full and has a lot of movement thanks to the ruffles and tiers it is made out of. It moves when you move and it is just beautiful. Everything in the pattern lines up perfectly at the seams and no matter what angle you see it from the dress is stunning. It looks to have been worn very little if at all. Excellent condition

Fully interlined in a nude silk chiffon through the body and green organza in the skirt. There is a full cupped and boned corset inside the bodice. The dress has a hidden side set zipper on the exterior and then another second zipper on the side under that to close the inner corset. Tagged a modern ODLR 4. The green is slightly deeper in person.

Bust: to 15.5" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Bodice: 9" from top of bust to waist
Skirt: 28" from waist to front hem

Modern Sizing Equivalent: XXS-XS

Item# DD3863

Reference Photos/Video: (1-4) Spring 2006 Oscar de la Renta Runway Collection, Look 37. Model: Maria Fuema.  /  (5-6) Jessica Simpson in Oscar de la Renta at the 10th Annual Accessories Council ACE 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 twin of this dress was Look 70 on the Spring 2016 runway. In 2016 Valentino was headed by both Maria Grazia Chiuri and Pierpaolo Piccioli. They had stepped into Mr Valentino's shoes and were breathing new life into the brand. The show was based on Africa as its inspiration and at this period of time the world was watching refugees attempting the journey to Italy. In the Vogue review for this collection Maria and Pierpaulo were quoted as saying; 'We probably feel that the greatest privilege in doing our work is that fashion can give a message,” said Chiuri. “We think every person coming here is an individual, and we can show that we can improve ourselves by understanding other cultures.'... 'The message,' added Piccioli, 'is tolerance. And the beauty that comes out of cross-cultural expression.' Many of the pieces fused Italian and African traditions, 'They met in the textiles'. This dress was one of the simplest of the show but is also one of the most beautiful and best cut with its simple monastic lines. 

The dress is made from a high end silk crepe that is entirely cut on the bias. This is what lets it move so beautifully over the body once it is on. When you walk, the fabric and that back cape catch the air and billows out around you. The colour is a deep hunter green and the dress is the twin of the runway version so you can see exactly how it moves in the video added here. It is constructed so that it drapes on the body perfectly. The dress is suspended from the shoulders by straps that curve up from the fabric of the bodice at the front and then change to skinny little straps that run down the back. It plunges into a low V at the front and the back is deeply scooped so that your entire back is left bare. It skims over the waist and then the skirt falls to the floor in a sweeping expanse of fabric. The skirt is cut beautifully and gradually widens out as it nears the hem. That and the bias cut of it is what gives it the floating effect it has when you move. A low back panel of silk is set to follow the lines there and this panel is what gives the dress its caped feel. The dress has this clever wrap effect to achieve this at the back with the back panel simply snapping into place along the side of the waist. I love that where it snaps into place it creates the slightest fold that gives shape to the waist area. And how that same effect is done on the other side as well even though that side is sewn into place. The precision in cut to have these match and sit like that should not be underestimated. It is very beautiful. It has not been worn and still has it original Valentino hang tag. It is stunning and a beautiful example of how simple doesn't have to mean boring by any means. Excellent condition

Unlined with inner finished fresh seams. The inner dress has a low set zipper at the back and then the back panel wraps and closes with snaps at one side of the waist. Tagged a Valentino 38. The easy cut should fit a range of sizes. If you are not very big busted this might work on a medium as well. Original hang tag attached.

Bust: open at each side so variable. Each triangle is about 6" across at the base
Waist: 13.5" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 60" from the top of the shoulder to the front hem, 64" to the back hem

Modern Sizing Equivalent: XS-SML

Item# DD3860

Reference Photos/Video: Spring 2016 Valentino Runway Collection, Look 70. Model: Bara Podzimkova.

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 1951, 27 year old James Galanos launched his first label called Galanos Originals. By 1954 he had won a Coty award and the Neiman Marcus award. By 1958 he was producing clothing that could range in price from $200 to $3000, an astronomical price for ready-to-wear for that time period. That said, his ready-to-wear line was made to almost true couture standards and piece in it were made with a level of craftsmanship that was on par with the French couturiers. Galanos was a master cutter and draper and he used many couture techniques in the construction of his dresses and other pieces. Grace Kelly was an early fan and he was truly one of the great American designers. His work is held in all of the major museums around the world and he is one of my personal favourite designers. This dress is exceptional and I was very excited to have it come into the shop.

The dress is absolutely gorgeous. The label that is in it was the one used starting in 1977. Looking at the dress it is almost hard to imagine that it is not from an earlier time period with its decidedly Old Hollywood feel. It is made out of a fine silk chiffon that has been dyed to a deep moss green. In the skirt they are also more olive coloured panels mixed in and this adds depth there. The bust is shaped and structured underneath that draped exterior. You would not think it to look at it but that part of the dress is very formed underneath and hides an inner foundation that follows the complete length of the bodice. The top is cut straight across and it curves in at the waist and then hugs the tops of the hips. A long chiffon panel snaps into place on one side of the interior and you can then drape this over your shoulder to create a few different looks. You can let it sit to cover your entire arm like a half cape or just have it trail down the back for a little floating detail as you walk away. You could also have it float over the entire upper chest to drape over the other shoulder. That panel is completely removable so you could also wear the dress without it for a true starless feel. The panel is long enough to play double duty as a sash or even a head piece. You have a lot pf options with it. The silk has been hand draped over the bodice and I love the contrast between the horizontal draping there against the vertical panels in the skirt. The skirt itself is a marvel. It is literally made up of vertical panels of silk that have been cut in different widths and slightly different lengths. These are layered over a inner single layer skirt of the same silk chiffon. When the dress is on it gives the illusion that you are very bare under the panels. Each panel is set in by hand and this would have been a meticulous and tedious method that would have added several hours of construction time to the dress. The panels give the dress a very unexpected sexy feel as they move around you and give the illusion that you will get a glimpse of your full leg at any moment. The dress is stunning on and the movement that the panel over the shoulder and the panels of the skirt have when you move is stupendous. Excellent condition 

Fully lined in a green silk and closes with a hand set zipper at the side. Hand finished throughout. The shoulder panel snaps onto place with silk covered snaps. It appears to have been worn very little if at all.

Bust: 15.5" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips at the bottom of the bodice: 17" flat across from side seam to side seam
Length: 48" from top of the strapless bodice to hem

Modern Sizing Equivalent: XXS-XS

Item# DD3862

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

Kenzo Takada founded the Kenzo label in 1970 and the label is still in existense despite the loss of Takada on Oct 4, 2020. He was also the honorary president of the Asian Couture Federation. The Kenzo label was and still is a great success with a strong following. My client bought this in Paris and never ended up wearing it so it still has all of its original hang tags attached. On the runway it was shown with a longer skirt but the reference photo still gives you a great idea of how it looks like on the body.

Kenzo traveled the world and his designs often mixed in the influences from those travels. He would mix traditional Japanese cuts with Western tailoring methods and fabrics from around the world. The interior of the clothes were as important to him as to the exteriors and they are immaculately finished like this one. This suit is so pretty. The fabric is a soft flat pile velvet that holds the colour printed onto it perfectly. It looks like it should be heavy but it is actually light and easy to wear. The velvet is very fine and soft. The skirt is cut in a pencil shape until just above the knee and then it has a very full ruffled and gathered finish so that that when you move it flares out for a very pretty effect. At the very bottom of the hem under the gathered portion it is finished with a wide ruffle that adds to the pretty lines. For the skirt the lining is a gorgeous contrasting pink floral print on a white backdrop. Topping that is that darling little jacket. It is cut to be fitted to the body with long sleeves that end in a contrasting pink velvet finish at the wrist. This same pink velvet accents the lower portion of the collar. Huge colourful buttons run down the front. The waist nips in and then the hips flare out in a slight peplum. The jacket is lined a beautiful turquoise floral print so you get a lovely flash of colour if you wear it open. It was never worn and has its original hang tags. Excellent condition.

Both piece are fully lined as described above. The skirt has a zipper to close and the jacket closes with hidden set snaps under the buttons at the front. New with its original tags. Both pieces are tagged a 40 and are cut very generously in size. 

Jacket
Shoulders: 15" across
Sleeves: 21.5" long
Bust: 18" flat across the back from seam to seam
Waist: 17" flat across the back from seam to seam
Length: 18" from neck to hem

Skirt
Waist: 15.5" flat across from side to side
Hips: 19.5" flat across from side to side
Length: 30" from waist to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3846

Reference Photos: Fall 2005 Kenzo Runway Collection, Look 7. Model: Lindsay Ellingson.

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 last piece from the second batch of very interesting pieces that are coming from a client whose aunt had most of her clothes made. This dress was made by Ady Couture and the story behind this label is fascinating. Ady Couture was based out of Lausanne Switzerland. She would buy couture fabrics from the couture houses along with the patterns and with permission make copies of the piece presented in the Haute Couture collections. When she was younger, and lived in Amsterdam, Ady would attend the private viewing and purchase directly from the couture houses. My client believes that her arrangement with the ateliers was a way to work around customs that prompted Ady to negotiate this arrangement with the ateliers. In my hunt for more information I have been able to verify that they made this permissible copies of the work of Yves Saint Laurent, Christian Dior, Givenchy, Lacroix and Ungaro. There may have been others but this are the houses I am confident on. The dress is completely made by hand to Haute Couture standards and it is beautiful. A truly iconic piece of couture 

The dress is made from a combination of a black velvet bodice with an attached brilliant emerald green silk skirt. Almost all the piece that were in this second box have been based on Yves Saint Laurent pieces and I would not be surprised if this one was as well. The bodice has been kept sleek and simple with the richness of the black velvet taking centre stage. The shoulders are squared off with light padding to give them shape and the sleeves are cut to be wider at the top and taper down as they reach each wrist. The bodice skims over you and drops on an angle past the waist. At that point the skirt is attached and it is cut to sit on an angle down one hip for a bit of a swag feel. A panel on the skirt wraps and snaps into place from the back, perfectly following the seam. When it reaches the hip it hooks into place under an attached large bow. This gives it the effect that you just wrapped it around yourself and tied it in place. It is quite flattering once on. My dress form definitely does not do it justice and like all couture it really needs an actual body underneath to bring it to life. Every seam is done by hand and the craft put into making this is exquisite. The green of the skirt in person is so much better then how it photoed. It is a clear crisp emerald green and the silk is rich and heavy so that it holds the drape perfectly. It appears to have been worn very little if at all. Excellent condition 

Fully lined in a black silk through the bodice and the skirt is unlined. It closes with a hidden set zipper at the back and there are hidden set zippers at each wrist. The skirt snaps into place as described above. Hand finished throughout. It appears to have been worn very little if at all. Made to Haute Couture standards with a tremendous amount of detail put into its construction. 

Sleeves: 24"
Shoulders: 15"
Bust: 19" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 57" from shoulder to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3814

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 now on the second batch of very interesting pieces that are coming from a client whose aunt had most of her clothes made. This dress was made by Ady Couture and the story behind this label is fascinating. Ady Couture was based out of Lausanne Switzerland. She would buy couture fabrics from the couture houses along with the patterns and with permission make copies of the piece presented in the Haute Couture collections. When she was younger, and lived in Amsterdam, Ady would attend the private viewing and purchase directly from the couture houses. My client believes that her arrangement with the ateliers was a way to work around customs that prompted Ady to negotiate this arrangement with the ateliers. In my hunt for more information I have been able to verify that they made this permissible copies of the work of Yves Saint Laurent, Christian Dior, Givenchy, Lacroix and Ungaro. There may have been others but this are the houses I am confident on. This one seems to be heavily influenced by the Fall 1987 collection by Givenchy. You can see the same skirting technique used in the runway reference photos I have included here. And if you put the top of the dress that Audrey is wearing with the runway piece together you pretty much get this dress. The dress is completely made by hand to Haute Couture standards and it is beautiful. A truly iconic piece of couture 

The dress is made from the most incredible metallic fabric. It literally changes colour from a purple to a green depending on how the light hits it. You get a hint of that in the photos but when it is on and in actual light and you are moving it can really go to a green colour. It is just amazing really. The fabric has a touch of weight to it and this helps to hold the shape that you see. The dress is astonishing and so bold. Pieces like this are really a testament to the level of design that you only see in couture pieces. At the front the neckline is scooped to show a touch of skin. The sleeves are set into the shoulders so that you get a bit of a peak. They are wider near the top and then they and taper down slightly as they reach each wrist. The bodice is cut to skim over you and the waist is dropped. Under the dropped waist is a wide band of poufed and gathered fabric that creates an incredible volume. You can see how it creates this bold and dramatic 3D feel. With the way the light catches the fabric and changes the colour the effect is even more dramatic in person. Nestled into the folds of that gathered part is a large black velvet bow. The skirt is set under that on a sharp angle that works it way away from the body to widen out to be quite full as it nears the floor. It is cut to feel sculptural and balance out the volume above. The front is cut a little shorter then the back and the I love the pleat effect the back has because of this. It did not come with a belt but you could easily add one to give it more of the feel of the runway version and add shape. It is incredible. All of the volume is created by the cut and the fabric alone. The interior of the dress is completely finished to couture standards with every single seam done by hand. It is an incredible piece and just beautifully made. It appears to have been worn very little if at all. Excellent condition 

Fully lined in a black silk and closes with a hidden set zipper at the back and there are hidden set zippers at each wrist. Hand finished throughout. It appears to have been worn very little if at all. Made to Haute Couture standards with a tremendous amount of detail put into its construction. 

Sleeves: 26"
Shoulders: 16"
Bust: to 20" flat across from side seam to side seam
Waist: to 16.5" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 54.5" from top of shoulder to front hem, 58" to the longest part of the back hem 

Modern Sizing Equivalent: MED-LRG

Item# DD3808

Reference Photos: (1) A/W 1987 Givenchy Haute Couture Silver metallic lame brocade strapless gown dress with a black velvet chest and bow and 2-layer puffy skirt. L'Officiel No. 734, September 1987.  /  (2) Audrey Hepburn, in Givenchy, at the Sheraton Hotel in New York City for the 17th Annual International Emmy Awards in 1989.

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 unlabeled piece from the 1960s that is made out of a metallic organza. There is an underlying pattern on the organza done in green and pink and then a metallic gold thread has been woven through the organza to create a secondary pattern. The metallic thread runs over both the pieces of the set and the matching belt. The gold catches the light beautifully and really adds detailing to the piece. Like the Malcolm Starr I just had in the shop this one is also meant to be worn over the hot pants that are original to the set. The top piece looks like a dress at first glance but you soon realize that one side of the skirt is completely open from the waist to the hem. The bodice is cut with a high scooped neckline and no sleeves. It skims over the bust and nips in at the waist. The skirt flows down from under there and the entire one side of the skirt is slit from the waist to the floor so that the side is completely split open. If you wanted to add to the versatility of the piece you could easy add a snap or two to be able to wear it on its own and as a true dress. Otherwise you can wear it as it was originally intended by adding the matching shorts underneath. I love that the edges down the side that is open are detailed with a gold braiding and the various crystals and beads that are set within that braiding. It gives it an added extra bit of bling that just puts it over the top. The shorts that go underneath are flat fronted and cut like boy shorts. Beside still having its original shorts it also has the original sash that you can cinch the waist in with like I have for these shots or you can use it around the neck or as a head wrap. The fabric choice gives the dress a touch of structure so it holds the shape and the metallic thread makes it glitzy and fun. This is an easy to wear but glamorous dress set that perfectly represents it time period. Excellent condition.

The top and shorts are fully lined in a black silky rayon and the skirt is unlined and is partially transparent. Both the shorts and the dress close with metal & nylon zippers, the shorts at the front and the dress at the back. The organza feels synthetic. The tie belt is original to the dress. 

Dress
Bust: 18.5" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: open
Bodice: 14" from neck to waist
Skirt: 43" from waist to hem

Shorts
Waist: 14" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 15.5" from top of bodice to waist
Inseam: 2"
Rise: 15" 

Modern Sizing Equivalent: SML-MED

Item# E696

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

Jean-Louis Scherrer was a Parisian fashion designer and couturier. He trained under both Christian Dior and then Yves Saint Laurent when he started his career at Dior. He worked briefly for Louis Feraud and then launched his own fashion house in 1962. From 1962 to 1992, Jean-Louis Scherrer dressed some of the most prestigious women in the world including Jacqueline Kennedy, Princess Paola of Belgium, Sophia Loren, Raquel Welch and many more. His work was known for known for being opulent with lavish trimming like the buttons in this dress. He sourced and used the very best of fabrics for his pieces. It is wonderful to have such a beautiful piece of his work in the shop. The dress has no labeled but comes to me from its original owner who removed the tag at some point 

This dress is exceptional and a remarkable example of his work during this time period. The colour is amazing. If you love it in the photos you will be even happier with it in real life because there is a richness to the silk that the camera could never capture. It is a bright spring green that is mixed with white and a slightly deeper green. This creates that spectacular floral print that covers the entire dress. The fabric that the print is screened onto is a fine silk gazar that has a secondary floral print that is woven directly into the silk. This adds to the rich feel of the fabric. The dress is light in weight because of this fabric choice but at the same time this particular silk allows the dress to hold its incredible shape. I did not add any additional crinolines under the skirt. That fullness is all created by seaming, how it is pieced together and the inner skirts that are there already. The print is huge and exuberant, covering the entire dress from head to toe. The skirt is wonderfully full and has been made from several yards of bias cut silk. This floats over inner silk and tulle skirts that create the shape and volume that you see. The bodice is constructed so that it has the feel of a sculpted evening jacket but it is actually fully attached and a part of the dress. The collar is set so that is sits slightly raised up so that it frames the neck and face. It is also cut wider across the front so that you get this lovely glimpse of the collarbones before it plunges into a V at the front. Large jewelled poured glass gripoix buttons run down the front giving it a slight Chanel feel. The sleeves are long and taper in as they near each wrist. The waist curves in and then the fabric flares out over the hips and curves down and around the back. An attached half belt is finished with that perfect oversized bow at the back. It is absolutely beautiful. Excellent condition with a minor note below

Fully lined in a deep green silk and closes with zipper set down the middle of the back. Each sleeve has a zipper at its cuff. Under the buttons at the front are hidden hand set silk covered snaps. The skirt has an two inner attached skirts. There is a silk layer as described above and then there is an inner tulle layer that is attached starting just under the hips. The belt closes with velcro and that was almost certainly a later addition so that tar belt sits more flat. Hand finishes. There is one small repair and small marks near the hem of the back skirt near the side seam. Please see the last two photos. Very minor. 

Sleeves: 22"
Shoulders: 14.5"
Bust: 17" flat across from side seam to side seam
Waist: 13.25" flat across from side seam to side seam
Innermost lining hips: 19.5" flat across from side seam to side seam
Bodice: 15" from top of bodice to waist
Skirt: 44" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3279

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 typifies that true American glamour. His work combines a chic sophistication with bold design and fabric choices. He was particularly known for his amazing evening wear. His work was executed to the highest standards and the workmanship is on par with couture. He is often called one of the great American couturiers and that title is well deserved in terms of construction and quality found in his pieces. He was a master at working with silk chiffon and his technique of layering the skirts with multiple panels of silk is a signature.

I love this dress. The color combination is very unusual and the silk chosen for the layers that make it up are of the highest quality. The dress is made out of several layers of silk chiffon. The inner pink dress is made out of four full layers that are stacked perfectly on top of each other. For the skirt each layer is attached at the side seam and waist which leaves the hem free and gives the dress movement when you move. The top portion is also made out of layers of the silk and here is it finished with inner elastic through the waist and all around the upper seam of the neckline. This makes the dress very easy to wear and comfortable. It simply slips on and falls perfectly in place over the body. Over the skirt is a panel of green that is set on both the front and the back of the skirt. This is attached around the waist with the side left open down the length of each side so that the pink of the skirt underneath shows. It has its original matching fabric tie belt that you can use to cinch the waist for added shape or use around the neck or even as a head wrap. The choice of these unexpected colors work surprisingly well with each other and it is made to the Galanos couture equivalent standards. The dress form does not do the dress justice as to how it works on an actual body. Excellent condition with one small note below.

The various layers of silk also act as the lining for the dress. It closes with a hand set, painted metal side zipper above the waist and then has elastic through the waist and around the upper edge of the bodice. Hidden pockets along the seams of each hip. Hand rolled edges and hand finishes throughout. It does have tiny straps that you could wear over the shoulders but I feel they are more to hang the dress so presented it as strapless. There is the faintest watermark in the silk at the waist. Please see the last photo

Bust: to 18" flat across from side seam to side seam
Waist: 12-15" flat across from side seam to side seam
Hips: to 19.5" flat across from side seam to side seam
Bodice: 16"
Skirt: 41" from waist to hem

Modern Sizing equivalent: XS-MED

Item# DD1199

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 stunning example of the couture work being done by the house of Lanvin during the years that Antonio Castillo headed the atelier. Castillo started off his career at the houses of Paquin and Piquet. He also did a stint designing accessories for Chanel. In 1950 he became the head designer at the House of Lanvin. The press at the time lauded him, along with Balmain, Dior and Balenciaga, as the new generation of the Paris Couture designers. During his time at Lanvin the house was known for the simple and elegant lines of the clothes and his metallic pieces were particularly sought after. This is a rare Haute Couture dress from that period whose label is the one used from 1954 to his departure in 1962. I found a couple of photos of a 'gold organza' dress that has the same pleated metallic skirt treatment that this one does and was able to date it by those. It is very beautiful. 

The fabric of this dress is the undeniable focal point of the dress and it is just wonderful. The bodice is a heavy silk faille dyed to a brilliant emerald green. It is cut to skim over the bodice with a seamed waist that has a matching fabric belt in the same green silk. It is sleeveless and the front is detailed with a cleverly built in pleating effect that gives a nod to the Lanvin bow but without adding bulk to the bust area by adding an actual bow there. Variations of these 'built in' bows were used extensively during the collections of 1954 and I think this is one of the best versions. The skirt is a masterpiece and you can see in the reference photos just how wonderfully it will move. I have photoed it over a light crinoline so that you can get a better idea of the full shape. The top layer is made out of a fine metallic thread silk organza that has a bias cut fine line worked through the fabric. This tiny angled line contrasts with the sharp knife pleats that the skirt has and lets the gold thread catch the light even more then it would otherwise. In person the fabric almost seems to glow. The gold color is not quite captured in these photos and I think it is far better and richer feeling when you have it in hand. Under the top gold layer is an inner silk skirt that has a deep stiffened hem to help give the skirt volume and hold the pleats true. The entire dress is made with masterful seaming and cut. The fabric choices are just extraordinary. It is a stunning and rare example of the Haute Couture pieces the house was producing in this time period. It has its Haute Couture label which is hand numbered on the reverse side. The inner silk is stamped Rhodia along the seam. Excellent condition with a small note below

Fully hand lined in silk and all done and hand stitched on the interior to Haute Couture standards. The dress closes with a side set painted metal zipper and snaps and hooks on the inner layer. Inner waist stay that hooks to close. The matching fabric sash circles the waist and there is a combination of hook & eye and hidden snaps to secure it. The inner skirt shows grubbiness and marks around the hem. Grubbiness along the edge of the hem of the outer skirt here and there and I see one teeny, well done repair on the outer skirt. If not for that it would look unworn. Hand numbered Haute Couture tag

Bust: to 19" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam but see above notes
Hips: open
Bodice: 14.5" from shoulder to waist
Skirt: 40" from waist to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3468

Reference Photos: (1) Lena Madsen in evening gown of finely pleated 'opaline' gauze by Lanvin-Castillo, photo by Guy Arsac, 1954.  /  (2) Gold organza gown by Lanvin-Castillo, 1954.

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'. 

This dress is very unusual and I had a hard time deciding how to best have it sit on the dress form. It definitely works as a halter with the hook placed at the back of the neck. These leaves the upper back entirely bare and open and the ruffles that edge the halter run down the sides of the bust and around the neck. However, it also could potentially work with the hooks done up on the top of one shoulder. It does leave one breast exposed this way but I feel that you could wear it like this and have a bandeau underneath and it would be as amazing. You could also replace the elastic that edges the bodice and it would sit higher. The fabric is beautiful. The top layer is a floral print on a fine silk chiffon. Under that are four attached layers of a solid green silk and at the edges he has set these so each layer's edge can be seen. It gives the dress an opaqueness but it is still light as a feather. The bodice is finished with a ruffle that follows the curve of the fabric there. It wraps and hooks to close and inside there is a little label that says front on the inner waist band so you know which side to place at the front of you. The skirt wraps over itself and fall to the floor in a column of silk. It is fabulous. Excellent condition

Fully lined in the four layers of green silk. Hand finished throughout. It wraps and hooks to close. Elastic through the edge of the halter top. There is a small areas that does not seem quite as tight as the rest of it and I think you could tighten this and it would sit higher and cover the breast on that one side.

Bust: open
Waist: 13.5" flat across from side seam to side seam
Hips: open
Bust: approx 18" from shoulder to waist but meant to drape a bit
Skirt: 43" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3398

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 part of a collection of Bill Blass pieces from a woman who was a close personal friend of Mr. Blass for many years. Many of these pieces were custom made or customized specifically for her and all of them are in wonderful condition. These are rare and hard to find example of his work from the late 1970s and into the 1980s. Some may be the only version, colour, print or design that was ever made. The family would also like it to be known that their portion of the proceeds from each sale will be donated to charity.

This gorgeous full length skirt and top set is a wonderful example of the work that Blass was doing in this time period. We were able to date it exactly based on a family photo that my client has. He pulled out the stops for the creation of this set. It is made out of two silks. The first is a crisp right green silk taffeta that he used for the skirt and sash. He then chose a softer textured purple silk for the top. A third colour is brought into the mix with the the tie belt that is a silk finished in periwinkle. The skirt is very full and I have not used any crinolines under the skirt for these shots. The fullness that you see is all done through the way it is cut and the seaming. The choice of the silk taffeta also helps it to hold the shape while still keeping it very light in weight. The skirt has a double silk sash attached around the waist. One part is the same purple as top and the other is a soft and pretty blue. The top is a light silk that has a slight texture running through it. It buttons down the front and the way that the buttons are set gives you just the peek of skin between the buttons. Each sleeve is cut to be very full and have lots of volume. It comes with a matching silk taffeta sash that is in the same green as the skirt and I have used it to create a large bow at the neck. You could style the sash a variety of ways other then this but I liked the balance it created in both he colour and the volume. Having the three separate pieces makes it very versatile because you can wear it all together for the full Blass look, or mix and match with modern pieces from your wardrobe. It is beautifully made and wonderfully extravagant. Excellent condition with a minor note below.

Both pieces are unlined. The skirt closes with a metal and nylon zipper and a flat hook & eye at the waist. The skirt hem is finished with a 3/4" strip of stiffened dressmakers tape to give it some weight and structure. The top buttons to close. The tie around the waist is attached and the tie at the neck is a separate piece. There are some very faint minor marks on both the skirt and the top. Please review the photos after the label shot.

Top
Shoulders: 15"
Sleeves: 29"
Bust: 20" flat across from side seam to side seam
Waist: 19" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 28" from neck to hem

Skirt
Waist: 14" flat across from side seam to side seam
Hips: open
Length: 45" from waist to hem
Matching sash: 84" x 13"

Modern Sizing Equivalent: SML-MED

Item# DD3261

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.

I am very pleased to begin presenting a collection of Bill Blass pieces from a woman who was a close personal friend of Mr. Blass for many years. Many of these pieces were custom made or tweaked specifically for her and all of them are in exquisite condition, having been stored and cared for properly over the years. These are rare and hard to find example of his work from the late 1970s and into the 1980s. Some may be the only version of its kind that were made. The family would also like it to be known that their portion of the proceeds from each sale will be donated to charity.

This is a lovely example of Bill's work that has the added provenance of being featured in the September issue of Vogue that in 1986. It's twin was photographed on Paulina Porizkova and I have included that reference photo here. Both the dress and jacket are made out of the most extraordinary fabric. He has used a fine silk velvet that has gold thread lame running through it in the manner of a men's suiting. This gives both pieces an incredible sheen when combined with the velvet. As it catches the light it almost has the feel of a liquid running over you. The dress is strapless with a built in inner bodice that gives it structure internally but from the outside you only see the fabric falling in one smooth line. The bodice has carefully placed hand done gathers that give just the hint of detailing. Under that the skirt falls to the floor in one long lean line. There is no slit on this one, rather the fabric is cleverly laid out so there is hidden volume as it nears the hem. Over this is the remarkable jacket that has a more structured feel to it. The cut is pure Blass with the waist just a suggestion and the shoulders boxed and padded. The sleeves are long and each is finished at the cuff with a wide band of hand done bead and sequin work. This same incredible detailing runs around the collar, down the front and circles all around the hem of the jacket. It is incredible and very chic. Excellent condition

Both pieces are fully lined in silk. The dress closes with a double zipper at the back, with the inner one closing the inner corset. The inner corset is boned and shaped. The jacket closes with hidden snaps at the front and hook & eye at the neck and waist. The bead work is hand done and elaborate.

Dress
Bust: 17" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Bodice: 14" from top of bodice to waist
Skirt: 40" from waist to hem

Jacket
Sleeves: 23"
Shoulders: 15.5"
Bust: 19" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 24" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD3260

Reference Photo: Paulina Porizkova in Bill Blass, Vogue UK, September 1986. Photo by Bill King.

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

Madame Gres' work has had profound effects on Haute Couture and her influence still resonates to this day. Her attention to detail, master draping techniques and respect for the female form is unparalleled. She was known for designing and creating garments directly on the models and the results were spectacular. She first opened her atelier, La Maison Alix in 1932. A partnership briefly changed the house's name to Alix Barton and then the label went to simply Alix. In 1942 she married, and the label made its last change to became Madame Gres, a partial anagram of her husband's first name, Serge. Her work spanned over five decades and all of it, with the exception of a short-lived RTW line begun in 1980, was created as Haute Couture pieces.

When researching this garment I happened across a dress that is held in the collection of the Fine Arts Museum of San Francisco, with a similar cut, and what looks to be the same fabric, dated to 1977. The collection notes on that dress even mention a matching cape that is not shown in the single photo provided for that garment (and shared here). It is also interesting to note that the Museum held dress has been exhibited twice. Once for the "New Look to Now", at de Young Museum, 1989-91; and it was lent to the Metropolitan Museum of Art, for "Mme. Gres" in 1994. This 1970s period is also about the time period where she turned her attention from using primarily jerseys to incorporating more taffeta and silks into her work. Her designs were never huge variations on themselves through the decades and we do see similar feeling pieces to this across the decades of her work at times, but I am fairly confident that this is the correct date within a season or two. Especially given the reference photo provided and the fact that the Museum dress also has a matching cape. It is just too coincidental given the same color and similar silhouette, not to be from that same collection.

The dress and gown are made from a deep green silk taffeta. This fabric choice gave her the ability to work in the volume she required for the silhouette whole still keeping the dress light and wearable. It is also a fabric that helps to retain the shapes she wished the set to have. The sleeveless bodice is cut so that the shoulders slightly extends outward giving the silhouette an almost statue-like appearance. The bodice skims over the body in a long lean drop that ends just at the top of the hip. It extends in this same long lean line over the hips, under the skirting and falls to the floor, with a high side slit up one side to allow you to walk. Attached to this inner dress is a dramatic skirt that is cut high at the front and curving down and slightly trained at the back. By tightly gathering the taffeta and adding a second tightly gathered, short ruffled layer underneath around the hips, she has created a form that stands away from the body and gives tremendous volume and shape. On the body it has an airy lightness and the volume of the skirts surrounds you, making you feel like you are a part of a magical fairy tale. Over this is a matching silk taffeta cape with almost monastic simplicity in its lines. It simply hooks into place at the neck with one tiny hook and falls beautifully over the shoulders. The cape flows and extends down longer at the back, picking up on the curved lines of the back skirts and extending the line downwards and back. It is magnificent. Both pieces are made by hand and both have the Gres Haute Couture label present. This is a rare opportunity to own an original Couture Gres ensemble comprised of this extraordinarily beautiful gown and matching cape. Excellent condition.

The Dress and cape are unlined with hand done seams throughout as per the parameters of Haute Couture. The dress closes with a off-set back zipper that is camouflaged along a seam. It also closes along the top of one shoulder with a series of hooks and snaps. The cape has one single hook & eye to close. Under the skirt overlay is tightly gathered ruffle of silk taffeta that gives the skirt overlay support and some extra volume. I see some very tiny marks on the bodice that are negligible but mentioned for accuracy. Note that the bust is more suited for a medium frame and the dress will work well on a smaller frame as well as the volume through the waist and hips is not meant to really hug and fit the body bit to glide over it. The dress has a very faint smell of perfume but it is not unpleasant or overwhelming. It is an extraordinary thing to see in real life.

Dress
Bust: to 18.5" flat across from side seam to side seam
Natural waist: 16" flat across from side seam to side seam
Hips at dropped seam: 20" flat across from side seam to side seam
Natural Hips: to 22" flat across from side seam to side seam
Bodice: 23" from neck to dropped seam where over skirt begins
Inner skirt: 37" from dropped seam where over skirt begins to hem
Total Length: 60" from neck to hem of inner dress, 67" to longest point of the back of the trained top skirt 
Slit: 20" from the hem up

Cape: will fit any size and is 30" in length

Modern Sizing Equivalent: SML-MED

Item# DD3227

Reference Photos: 1977 Madame Gres Dress from the Fine Arts Museum of San Francisco.  /  Cherie, Owner of Shrimpton Couture.

This garment has been professionally steamed and sold in, clean, as found condition. Thoroughly checked over before shipping, it will be ready to wear upon arrival.

Antony Price launched his self-named label in 1979 and quickly became know as one of the more glamorous designer of the eighties. His work tended to have a mix of femininity, high glamour and edginess. His designs showed off the body and often had dramatic, over-the-top finishing touches. You see an example of that on this dress from his Fall 1989 collection with its two large bow details that sit on the back of each draped shoulder. On the runway they were stiffened to heighten their drama but for retail the bows are softer and drape beautifully. The front of the bodice is cut low and wide across the neck. From there the velvet curves around the shoulder and and each shoulder is tied into a bow of matching velvet. You can wear these at the top of the shoulder, have them pushed down to drape and fall towards the back and have them act as a weight and show more skin there. Or, you can choose to not wear them at all for a more traditional feeling line. The back edge of the neckline is finished in elastic so it sits properly no matter where you decide to place the bows. The fabric is a deep bottle green cotton velvet whose color seems to be illuminated from within. The waist nips in and the skirt is cut to be slim and fitted. It is hard to really show off this dress on a mannequin to its full advantage but on a proper girl it is even more spectacular. Excellent condition.

Fully lined in a black silky rayon and closes with a back metal and nylon zipper. Appears unworn. Note that the provided reference photos are taken from the runway footage. Apologies for their low quality. You can see the dress in the video at about the 14:00 mark

Bust: 18-19" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Bodice: 11.5" from top of middle back to waist
Skirt: 24" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD2706

Reference Photos: Stills from the video of the Antony Price A/W 1989 Runway Show.

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