The twin of this dress was Look 59 on the Spring 2016 runway worn by the beautiful Imaan Hammam. 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 most stunning looks of the show and the textile that it is made out of was also one of the most beautiful. 

This is one of Valentino’s classic caftan dresses that Pierpaulo still does version of. The dress is made from a scarf weight silk it is light and easy to wear. The fabric is stunning. The colour is a deep olive and then that has been painted with muted copper / gold colour paint over the entire dress in an abstract leaf design. This is a nod to traditional African painted cloth and it is very beautiful. The paint actually sits on top of the silk and has a texture to it that you can feel. It is quite fantastic. There is a closed seam just inside the outer edges. This allows the fabric to have a ruffled effect down the sides but it still feels open and loose cut through the body. To add some shape through the front it has been gathered into soft pleats from the neck to the waist. The back is left loose and easy so that when it is on it will billow out behind you. I love how the gathers at the front create this pretty detailing around the neck. Inside the dress there is a built-in soft bralette that hooks into place and hold the dress perfectly on you. The proportion of it is done to allow the shoe and ankle to be seen, a theme that ran throughout the show. Of course, depending on how tall you are it may sit slightly higher or lower. We found both runway photos and video so you can see how spectacular the dress moves once on the body. It is beautiful. It appears to have been worn very little if at all. Excellent condition.

The dress slips over the head and closes with a button above a keyhole at the back. The inner bralette hooks to close inside. If you needed more room through the chest, you could easily expand on that inner piece, because the exterior caftan part is completely open through the body. Tagged a 44 and it appears to have been worn very little if at all. The easy cut should allow it to fit a range of sizes

23" flat across from that inset side seam to side seam and widens to 29"  at the hips
Inner bralette: is open on the sides
Inner waist: 15" flat across from inner side seam to side seam
Length: 53" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# DD4258

Reference Photos/Video: Spring 2016 Valentino Runway, Look 59. Model: Imaan Hammam.

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 little Oscar de la Renta would be from the 1967-68 collection. I have had similar examples in this type of brocade that he favoured during this time period in the shop in the past and I've included a dress example here from a recent exhibit of his work that has the same similar fabric. He used this fabric freely throughout the 1967 and 1968 collections in particular and we often see his use of it in a couple of different colour ways. The label in the dress identifies it as being a part of his earliest main line. When Oscar De la Renta first started his career he began a partnership with the fashion house of Jane Derby in 1965. Jane Derby died shortly after and in 1966 the first labels that bore only the Oscar de la Renta name appeared. That makes this a very early example of his higher end work. It is gorgeous.

This jumpsuit is an absolute knock out once on. It is also very representative of his work during this time period. The fabric is quite exceptional and the silk metallic brocade forms a stunning design that runs from shoulder to hem. The fabric is lighter in weight then you would think at first glance. It is heavy enough to hold and retain the shape that he desired it to have but is still light enough so that it feels easy and comfortable to wear. It has a very refined feel to it but it feels youthful and fresh at the same time. It perfectly sums up Oscar's love of opulence mixed with the exuberance of the decade. The cut is kept simple to allow that stunning fabric to take center stage. The pants falls from the slightly high set waist. They skim over the hips and there are hidden set pockets on either side. They widen out to be extremely wide by the time they reach the hem. Each leg is a full 34 inches around by the time they hit the hem. The waist is seamed but left more on the open and easy feeling side rather than being severely cinched in. The sleeves are cut straight and wide to just pass the elbow. The bodice is cut to skim over the body. The fabric is a silk brocade that is a gorgeous mix of pink, corals and a soft yellow. Woven through that is a muted gold thread that adds a soft metallic shimmer over the entire dress. The thread is set in swirling designs that sit on top of the swirling pattern underneath. The effect is amazing. The bodice detail is spectacular. Bands of a gold metallic lace are laid over the bodice in vertical rows and then horizontally around the waist and collar. Large pink and orange crystal rhinestones are set onto that along with metallic embroidery. It closes down the front with hook and eye and then a zipper under the waist. It is gorgeous. Excellent condition with a minor note below

Fully lined in a bright yellow silk with ribbon finished interior seams. It closes in the front with hook and eye to the waist and a painted metal zipper under that. Pockets on each hip. There is a bit of a mark on the fabric on the back of one arm. It gets lost on the pattern but mentioned for accuracy. Please see the photo after the label shot. There are some minor repairs to the lining near the shoulder and neck and zipper sticks but is original and functional so I left it as is.

Sleeves: 17"
Shoulders: 14"
Bust: 17" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: 21" flat across from side seam to side seam
Bodice: 14" from shoulder to waist
Pants: 38" from waist to hem with 3" turned under
Inseam: 25"
Back neck to inner seam of legs: 31"
Back waist to inner seam of legs: 15.t"

Modern Sizing Equivalent: XS-SML

Item# DD4236

Reference Photo: Oscar de la Renta, Evening Dress, fall 1967, synthetic matelassé with rhinestone, bead, and sequin embroidery from the The Glamour and Romance of Oscar de la Renta Exhibit at The Museum of Fine Arts Houston in 2018.

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

Adele Simpson launched her label in 1949 and remained at its helm until the early 1980s. She became known as 'America’s First Ladies’ Designer' after dressing 6 first ladies over the course of her long career. She was also one of the founders of both the Council of Fashion Designers of America (CFDA) and the Fashion Group International (FGI). She favored quality and longevity over trends and her pieces were well made ready-to-wear at prices that were attainable for the modern woman. She was once asked what fashion was to her and she replied that for her it was 'a fascination with the way people all over the world express their sense of beauty.' This is a beautiful example of her work during this point of her label.

This dress is just gorgeous. It is made out of a deep red brocade mixed with an ivory pattern that covers the entire dress. worked in through the design is a muted gold thread that gives the entire dress a touch of a metallic feel. I love the elaborate floral pattern that runs over the entire dress. With the  metallic finish to them it really makes this pattern pop. The dress is cut to skim over the bust and the neckline is a simple scoop. From there the dress skims down over the waist and hips and the skirt flares out beautifully as it reaches the hem. This would be a beautiful dress just with this fabric alone but this one has the added detail of rhinestones, silver braiding and gold beads that elevate it even more. The silver braiding is laid out with the beads and rhinestones applied on top of it. It circles all the way around the neck and then runs in a double row down the front. From there it runs around the waist and is set slightly high to emphasize the empire cut feel that the dress has. More of the rhinestones and silver run around the end of each sleeve and then a panel runs up vertically to just below the elbow. This at an incredible amount of glamour to the dress and I love it. It is a stunning piece. Excellent condition.

Fully lined in a red silky rayon and closes at the back with a zipper. The occasional rhinestone may have a slight darkening to it. It looks to have been worn very little.

Sleeves: 22.5"
Shoulders: 15"
Bust: to 18" flat across from side seam to side seam
Waist: to 16" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: 13" from top of shoulder to detailing at waist
Skirt: 44" from detailing at waist to hem with 3" turned under the hem

Modern Sizing Equivalent: SML-MED

Item# DD4224

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 was designed by Belgian-born Jules-Francois Crahay, who headed the Lanvin ateliers from 1964-1984. He has been noted as one of fashion’s 'great colorists with his colorful patterns making his 1970s Lanvin designs hugel​y ​desirable and influential.' His time at the Lanvin label is one of my personal favourites for the house. I especially love the his work during the period through the late sixties and into the early 1970s. He was a genius at print and colour and he pushed the envelope in terms of using cutting edge fabrics available during this time period. This dress is from the early part of the 1970s and it is incredible. The Lanvin label is numbered and it is made to demi-couture standards. I love it.

This dress is incredibly beautiful in person. The camera really cannot do it justice. It is made from a fine blue silk tulle that has a floral pattern embroidered over its surface in the same blue. The entire dress is lined in a purple silk and this gives it this very unusual colour that lies somewhere between a deep blue and purple. A metallic gold thread was then embroidered over parts of the floral design. Around the entire lower skirt is a dense application of the gold with two wide panels completely covered in a open chain link design. These circle around the entire hem and lower skirt with more of the floral netting in between. The result is fantastic and I think in person the effect is far stronger then how it photoed. I love how the gold catches the light from every angle. The bodice skims over you and the sleeves are long. Each sleeve has a subtle poufed effect above its elastic cuff that would show more once on an actual body. The waist is seamed but cut more loose and easy. If you wanted a more defined shape you could easily add a ribbon or a belt. The skirt falls to the floor from there and widens out as it nears the hem.  Besides adding beautiful detail those added panels of gold at the hem also help to give just a touch of weight and help the skirt hold its volume and shape. It is very light in weight and just stunning. Far better person then the camera is doing it justice. The fabric has so much texture and the metallic bits pick up the light perfectly. Gorgeous. Excellent condition 

Fully lined in a purple silk chiffon through the top and a purple silk through the skirt. It closes with a back hand set zipper and there is elastic in each cuff. Hand finishes and hand finished inner seams mixed with machine work. The label is numbered. It looks to have been worn very little if at all. The bias cut of the lining and the net give it a little give so I have put the comfortable range of measurements where it will give a bit.

Sleeves: 26"
Shoulders: 14.5"
Bust: 17-19" flat across from side seam to side seam
Waist: 14-15" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Bodice: 15" from shoulder to waist
Skirt: 43" from waist to hem

Modern Sizing Equivalent: XS-MED

Item# DD3925

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

Loris Azzaro launched his label in 1967 and quickly defined his trademark looks by using ornate fabrics and avant garde ways of defining the body. Some of the most beautiful women in the world wore his clothing including Marisa Berenson, Raquel Welch, Jane Birkin, Sophia Loren, Brigitte Bardot and Tina Turner. It was a label that defined sexiness and had a certain French flare that women world-wide loved. By the seventies and eighties he was experimenting with volume and proportions and new fabrics that at the time were all cutting edge. This is a stunning example of his work from the early 1970s and this one is even more special since it is both a book piece and the dress from the ad campaign that season. Especially luck finding this photo because on my dress form and in person the dress can look pretty straight up and down, but once on the body it transforms into the bombshell dress you see in the reference photo. It's spectacular

This is a killer dress. It is one that will come to life even more once it is on an actual body because as mentioned above, this is a dress that in person it is even better. The first thing you see is that the entire dress is covered in overlapping gold sequins that catch the light from every angle. This alone takes your beathe away when you see the dress in person. The bodice of the dress has this cut out and  sculpted feel to it that is fantastic. There is a wide collar that wraps around your neck and then curves down into the bodice. A low scoop out is open and bare under that and then the bodice is seamed to be fitted and shaped around you. It nips in at the waist and then the skirt under that curves over your hips and the falls to the floor in a sleek column to the floor. At the back it is slit up the center quite high so that you see a flash of leg as you walk away. The entire back is also left bare and open and it is as incredible from the back as it is from the front. The dress is wonderfully made. It is a stunning dress and you will definitely turn heads in it when you walk into the room. This might make an amazing wedding dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. And of course it could also be worn to any fabulous event. Great condition with a note below.

Unlined with narrow silk panels covering the inner seams and hand stitched into place. It closes with a zipper at the back and hook and eye at the neck. It looks like someone extended the back neck at some point and stitched in a small overlap at the front. There are areas on the bodice and near the back edge where some sequins have started to loose their gold colouring. And on looks like those areas are catching the light differently but they could easily be replaced if you if it bothered you please see the photos after the label shot. Hand finished throughout.

Neck: 16" around
Bust: 16-18" flat across from side seam to side seam
Waist: 12-13.5" flat across from side seam to side seam
Hips: 16-18" flat across from side seam to side seam
Length: 60" from lower seam at neck to hem
Back slit: 22.5" from hem up

Modern Sizing Equivalent: SML-MED

Item# DD4199

Reference Photo: Spring 1973 Loris Azzaro Ad in Jour de France Magazine, as seen in the book "Azzaro: Fifty Sparkling Years".

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 her models and this became a signature of her work. She opened her first atelier, La Maison Alix in 1932. A partnership briefly changed the house's name to Alix Barton and then the label went to simply Alix. In 1942 she married, and the label made its last change to became Madame Gres, which was a partial anagram of Serge, her husband's first name. Her work spans over five full decades with the vast majority of it, with the exception of a short-lived RTW line begun in 1980, dedicated solely to creating Haute Couture. She is one of the greatest couturiers of our time and her pieces are very rare and hard to find. This set is from approximately the early to mid-seventies and it is fabulous.

This is an amazing piece of vintage. It is a set that consist of two pieces. The bottom part is a wide legged jersey pant and the legs are extremely full. The jersey is a soft wool fabric that she used extensively during this time period and it has a soft finish to it that looks and feels heavenly. The pants are banded at the top with a wide gathered swath of the same jersey but in a soft pale yellow for contrast to the camel colour below. It hooks to the one side and there's some built-in boning to keep it wide and full around the waist. I love how it is set into the pants on a bit of a curve. This lets one side be a little wider then the other. Below that the pants fall in extreme volume to the floor. They are so generously cut that by the time they reach their hem they are a full 64" around. Incredible. The top has almost the exact opposite to the feel of the pants with its metallic finish. The contrast is perfection. The top is made out of a beautiful silk that has actual metal thread woven through it. The silk is printed with its own design and then the metal thread is woven onto that in a floral design to get a print on print feel. The neckline is scooped and top itself is cropped. Darts run down on an angle to create room for the bust. The sleeves are long and simple. At the back you see the magic of this piece. Instead of a zipper or button closure, the top actually ties into place with ties made of the same fabric. These sit on an angle that starts at the neckline, runs down to one side and then straight down to the hem. This leaves a little bare expanse of skin that is so perfectly sensual. I have shot the top un-tucked so you could see it in full, but for the rest of the photos I tucked it into the band around the waist of the pants and I think that it looks quite incredible either way. The appropriate Couture tags are present in both pieces and the top has an additional handwritten numbered tag inside. This is an incredible and rare opportunity to own a beautiful piece of her work and it is that much more versatile with the two pieces since you can mix and match. Excellent condition with a small note below.

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

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

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

Modern Sizing Equivalent: XXS-XS

Item# DD4182

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 remarkable example of Courreges and the work that Andre was doing during that time period. I know we often associate his work with very mod and short pieces but he also did many dramatic pieces in fabrics like this. It is just incredible and the photos don't come close to conveying how beautiful it actually is in real life. I am sometimes more excited to find these bolder and more unusual pieces from him then the more common mod feeling ones. This one is also numbered on the back of the label. It is just gorgeous.

This beautiful dress is made out of a black silk chiffon and then it has a floral design that it's fused onto the silk. The colours that are used are absolutely gorgeous. They range from this deep fuchsia and pinks and then they slowly change to soft corals and even pale lavenders in parts. The velvet has a glow to it so the effect of the velvet popping off of the transparent silk chiffon is this fantastic play of texture and colour that has to be seen in person. Many of his pieces are a play on volume and proportion and this dress is an amazing example of that. It is a dramatic piece that is cut with a dropped waist much like a twenties piece would be. This blouses over an inner seam set around the top of the hips. The neckline is squared off at the front and again at the back. I love how it is edged in a little black velvet ribbon. Running across the front of the neckline is a skinny little velvet strap that has a flat bow at its center. Each sleeve is full above its own skinny little velvet ribbon edging. The blouse is full and easy and skims over you to that low drop scene under the seam the skirt falls from there and is actually quite full. When you're standing still it hangs straight but when you move you get this beautiful volume and floating affect around you. There's a little attached velvet ribbon on one side of the head that wraps around to tie in the bow on the other. I would love to play on transparency that you get there is a lining inside but you still have this feeling that there's a slight transparency between the flowers. This is Address that really only comes to life once it's on the body as pretty as it looks in the photos it's really when you see it in real life and you realize how much flow the bias cut fabric has how much drape the dress has and how much movement it will have once it's on the body. It's spectacular. It looks to have never been worn or worn very little. Excellent condition

Fully lined in a single layer of silk chiffon through the bodice and has two layers of chiffon through the skirt. Slips over the head to wear and has elastic through the seam at the top of the hips. You can use the ribbon to tighten it further around your hips. Taged a Courreges zero and has a numbered tag on the back of the label. It appears to have been worn very little if at all. The easy cut should allow it to fit a variety of sizes

Sleeves: 14" and the ends are 10.5" around
Shoulders: 15"
Bust: to 20" flat across from side seam to side seam
Waist: open
Elastic seam at top of hips: to 23" flat across from side seam to side seam
Bodice: 22" from top of shoulder to elastic seam at top of hips
Skirt: 29" from elastic seam at top of hips to hem

Modern Sizing Equivalent: XS-MED

Item# DD4149

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

John Anthony is an award-winning American fashion designer best known for simple, elegant clothing with a strong sense of chic. His work veers towards minimalism, with sharp tailoring, striking evening wear being his signature. He is renowned for his cutting and tailoring. From the day that he launched his atelier in 1971 his design philosophy is a fusion of function and purpose. The function is his logical, wearable approach; the purpose, his pared-down ideas. As a designer, he considers it his job to make things easy for the customer. He designs with focus and a narrow palette for both day and night, so items can easily intermingle. He uses natural fabrics and is noted for contradictory daywear fabrics in his evening collections. In the early 70’s he was one of the first designers to promote the idea of easy-to-travel clothes that resist wrinkling. By 1976, he was showing soft, liquid separates in muted colours that became his trademark and received 2 Coty awards, one in 1972 and one in 1976, as recognition. His business was all done on a made to order basis. That means the majority of pieces you will find are a one-off, or if there are similar pieces, very few of each piece exist. This personal attention to each dress is clearly seen in the workmanship of his pieces. His work is very expensive and beaded pieces did, and still do, retail for over $10,000. His work is a personal favourite of mine and I am thrilled to begin to offer these exclusive pieces and samples that John pulled from his own archives. I have included a reference photo of Janet Jackson wearing a similar version of the dress that he made for her Today's Black Women cover in 1998. That design was based on this original piece from 1982. It is stunning

The dress is very light in weight and the fabric is absolutely beautiful. The innermost lining is a blue silk chiffon and then a blue net lace is layered over that. Then onto the are thousands of blue iridescent sequins that follow the pattern in the lace and cover the entire dress. This allows the dress to catch the light from every angle. The effect that it creates is stunning. The dress is strapless and the bodice is set on a curving sweetheart shape to emphasize the bust. The edges at the hem and bodice are done to follow the pattern of the lace and I love the touch of romance this gives to the dress. To wear the dress, the closures have been set down the front of the dress with a hidden zipper. Tiny little hidden set snaps are set to follow the edges of the lace and these snap into place over the zipper. So once you have it on there is no zipper line to break the eye. The snaps under the lace run to about the mid-thigh. This leaves a subtle slit under the overlapping sides. This gives you a flash of leg when you move or sit and it is very sexy. The lower hem is set on a curve so that it comes up slightly at the front and is longer at the back. The skirt is lined in a blue silk chiffon and this gives it a slight transparency in the light. I love the little rosette sitting at the side at the waist for the perfect finishing detail. It is a wonderful dress. Excellent condition.

Fully lined in a hand set deep blue silky rayon through the bust and a silk chiffon through the skirt. It closes at the front with a hidden set zipper and a series of hidden fabric covered snaps. Lightly boned through the bodice. Hand finished throughout. It appears to have been worn very little if at all. 

Bust: 16" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Bodice: 9" from the top of the bodice to waist
Length: 46" from the top of the bodice to longest point of the back hem

Modern Sizing Equivalent: XS-SML

Item# DD3831

Reference Photo: Janet Jackson in John Anthony for Today's Black Women, June/July 1998.

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 fall 2004 John Galliano dress is one of the most beautiful dresses I have ever seen. And yes - it is the dress that was worn by Claudia Sulewski earlier this year to attend her SXSW film premier. I’ve included photos of her here from my various Instagram posts from that evening and you can see and read more on my instagram. This dress was a production piece made for retail and is infinitely more wearable then the pieces shown on the runway that season. It is spectacular. It is a stunning example of his work.

No matter how good you think that this dress looks like in photos and on Claudia, it is even better in person and moving. The silver metallic thread that creates the pattern in the silk has a glow and glint in the light that is not quite caught on camera. The video that I have included here gives you a much better idea of the dress once on. The dress is made out of a fine silk chiffon that has a slight texture to it. The colour is a soft pale baby blue and the silk chiffon ruffles are a paler shade of the same blue. Silver lame thread is woven through the silk to create stunning medallions that run over the entire dress. The dress is cut on the bias so it just glides over the body. It is in its original supermodel length and has not been altered. It is cut to skim over the bust with a V neck plunge on both the back and the front. The dress is so well made that you can actually wear either side to the front and it works. The dress skims over the waist and hips and is cut so that the bias cut of the silk follows your curves and highlights the body underneath without it being too tight and fitted. Galliano was a genius when it came to this cut. Once past the hips the dress flares out as it nears the bottom and is incredibly long. That bias cut is further highlighted by the curving angled seams edged in a pale blue silk chiffon ruffle. These glide and curve around you and add the illusion of even more height. The transparency of the chiffon used for those ruffle gives the dress another layer of texture and dimension. The final perfect detail is a row of his signature tightly spaced silk covered buttons and loops that run down one side. It is just spectacular. This would make an amazing wedding piece for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration and of course it would work for any red carpet event or gala. Other then being worn for a couple of hours on the red carper I don't think it was ever worn. Excellent condition 

Fully lined in a matching silk chiffon. It closes down the side with a row of silk covered buttons and loops. Tagged a size US8, FR42, GB14 but the boas cut should allow it to work on a variety of sizes. The measurements given below are the comfortable range when the dress is laying flat. It is in its original uncut length. Being bias cut the length will come up a bit at the back. The dress should work on a large range of sizes given the bias cut. On smaller frames it will drape more and be more fitted on larger frames.

Bust: 16-20" flat across from side seam to side seam
Waist: 13-16" flat across from side seam to side seam
Inner hips: 18-21" flat across from side seam to side seam
Length: 69" from top of shoulder to hem

Modern Sizing Equivalent: XS-MED

Item# DD3999

Reference Photos/Video: Claudia Sulewski at the SXSW Premiere of "I Love My Dad", 2022 from Instagram. She was styled by Jared Ellner that evening

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 set walked the the Fall 1984 Haute Couture runway and was worn by supermodel Kirat Young. It was also photoed that season for what I believe was an editorial shoot. I have included those reference photo here for you so that you can see how amazing it is on the body. Emanuel Ungaro launched his label in 1965 after working for both Balenciaga and Courrreges. He was a brilliant designer who was known for his of extravagant fabrics and flamboyance. His Haute Couture pieces are not easy to find and this set is stunning and even better in person 

I always love a set because of the versatility you get with one. You can wear these together as shown or wear the dress on its own and mix the jacket in with pieces you already have. The dress is particularly amazing. It is cut in that signature Ungaro silhouette for this time period. He made these dresses to hug and highlight every curve of your body. The dress is made out of a silver silk velvet that has a metallic silver and gold foil worked through the fabric. This gives allows it to catch the light from every angle but it feels subtle and not garish. The fabric is hand draped and stitched to give it an incredible soft pleated texture. The bodice has a highly modified sweetheart shape with one side set at a high peak and the other in a soft curve. The gathers are shaped to follow the line of the bust and emphasize the breasts. On the side that it zippers to close on there is a strip of hand applied beads and sequins that run down the full length of the dress for extra detailing. The jacket is made from an ivory lace that is hand applied over an ivory silk. Onto the top lace layer is a mix of embroidery work, little silk appliqué pieces, rhinestones and faux pearls. The shoulders are padded and the top of the sleeve is gathered around the shoulder so you have fullness there. They narrow from there to the wrist. The waist is brought in and shaped with vertical seaming and the hips flare out dramatically. There are no closures on the jacket, it is meant to just slip on and sit over the dress. It is finished with a dramatic Ostrich and silver foil feather border that that wraps around the neck, down the front and all the way around the hem. Both pieces are completely made by hand and the proper Haute Couture numbered tape is present. It’s gorgeous. Excellent condition

The dress is hand lined in a ivory silk and closes with a hand set side zipper. The bodice is boned. Interior waist stay hooks to close. The jacket has no closures. Padding in each shoulder. I see minor marks on the interior lining of the dress and perhaps a slight grubbiness to the inner arms of the jacket. Please see the last photo after the label shot.

Dress
Bust: 16.5" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Bodice: 9" from top of bodice to waist
Skirt: 25" from waist to hem

Jacket
Sleeves: 23"
Slightly extended shoulders: 16"
Bust: to 20" flat across from side seam to side seam
Waist: approx 14" flat across from side seam to side seam
Hips: approx 19" flat across from side seam to side seam
Length: 32" from neck to hem, including the feathers

Modern Sizing Equivalent: XS-SML

Item# DD3367

Reference Photo: (1) Fall 1984 Emanuel Ungaro Haute Couture. (via @only_french_couture).  /  (2-6) Fall 1984 Emanuel Ungaro Haute Couture Runway Show. Model: Kirat Young.

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

Bill Gibb was one of the most influential designers in 1970s Britain and his clothes were sought out and worn by the rich and famous. His work has a high fantasy element and he was crowned Designer of the Year in 1970. Much of his work verged on couture and he was unrelenting in striving for perfection. I love finding his worn becasue its rare and exceptionally well made. It represents the more fantastical side of British fashion during this time period and I love that. 

This dress is amazing and a wonderful example of his work. It may not be what you typically think of when you see Gibb's work but it does show the range that he was capable of. The dress is made from a silk chiffon that has been dyed to a deep fuchsia that gradually darkens to a deep mauve. I love how the color deepens as it goes down the dress. The bodice is cut with a wide sleeve that comes out from the gathered and corseted waist. The neckline at the front and back dip in a deep V to meet the high set waist. This creates a beautiful shape that is far better on a real body then how it looks on my dress form. The front neckline is detailed with a little fabric flower that is finished with sequins to pick up on the detailing on the skirt and to tie the top and skirt together. The body of the dress is one large extra wide band. The silk is gathered over it and it is given  support and shape by that gathering and the seam work inits construction. This runs right to the top of the hip. The skirt cascades to the floor from there in a sweep of silk chiffon. Fused directly minor the silk of the skirt is a fantastic pink glitter that catches the light every time you move. The inner lining s a pale silver blue silk and having that colour layered under the top colour gives it a very unique effect that is conveyed better in real life then how it photoed. It is gorgeous and really needs an actual body in it to bring it to life. Excellent condition.

The dress is fully lined in a pale silver blue silk and closes with a side metal and nylon zipper. There are hook and eye along part of the bottom seaming of the arm on that side as well. Big iridescent glass buttons on each cuff. Small areas here and there where the glitter has fallen off but its minimal and I am being picky. It appears to have never been worn, or worn very little

Sleeves: approx 23"
Shoulders: no defines seam
Bust: no true side seams so open and variable
Natural waist: 14.5" flat across from side seam to side seam
Seam at bottom of gatherings 24" down from the shoulder: 18.5" flat across from side seam to side seam, skirt is open under that
Length: 57" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3068

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 woman behind the Maggy Rouff label was Maggy Besançon de Wagner and she started her label in 1928 after working at the Drecoll Haute Couture atelier. After only one season in business the Maggy Rouf label became an official member of the Chambre de commerce et d'industrie de Paris. The label continued to produce Haute Couture until 1965. Maggy developed a staunch following for her work and for her gowns in particular. One of the hallmarks of her designs was that each piece had a main focal point. Like the stunning back panel on this dress for example. Draping techniques, as we see around the hip area on this dress, where also a signature element of her work. This is a stunning dress and her Haute Couture examples are rare and becoming increasingly valuable. 

This dress has all the hallmarks of Haute Couture that you want from this era. It is entirely made by hand and the fabrics that were chosen to make it are exceptionally beautiful. Two different fabrics have been combined to make the dress that you see here. The main body of the dress is made from a rich, luxurious silk brocade made from a gold metallic thread woven through on a purple silk. This gives the dress an exotic, royal feel, and the fabric seems to glow from within as it catches the light from every angle. The thread is woven into the silk and not just applied onto it as a print. This gives it a slightly raised texture to it that is beautiful to touch and feel. Maggy chose a fine matte silk satin in a brilliant purple hue to use for the straps that curve up and over each shoulder and for that incredible inset panel at the back. The dress is cut to skim over you and curve in at the waist for shape. It is cut straight across at the neckline and has a panel in a contrasting pattern that is draped across the bust. The waist is curved in and there is a hand draped gathering that runs softly across the front at the hips. This balances out the panel at the bust and helps to highlight and show your curves in that perfect Hollywood starlet feel of this time period. The back is jaw dropping. The straps curve down to a low set back to leave lots of bare skin exposed. It is gathered in at the back waist to create shape. Inset at the low back is a sweeping train of the purple silk satin. This cascades to the floor ad opens and widens out as it nears the hem to create a trained back skirt. At the small of the back a flat bow in the same purple silk is the perfect finishing touch. Inside the dress there is a fully boned and structured bodice along with a waist stay to hold the dress perfectly in place. This dress is an incredible piece of mid-century Haute Couture. Excellent condition.

The inner bodice is boned and set into the inner purple silk lining. This inner bodice layer closes with its own series of snaps and hooks that run down and behind a painted metal zipper that closes the outermost layer of the dress. An inner waist stay hooks to close. The back train is lined in a stiffened netting to help hold the shape and the hem is finished in dressmakers tape. Inner silk lining. The dress is completely made by hand to the Haute Couture standards of the period and is done with remarkable construction technique. There is one tiny area on the inner lining's hem that has a touch of fading, that of course this is not something you would ever see when on. Perhaps the tiniest bit of grubbiness to the trains hem but I am being extremely picky.  Otherwise appears to have been worn very little if at all

Bust: 18" flat across from side seam to side seam
Waist: 13.5-14" flat across from side seam to side seam
Inner hips: 19" flat across from side seam to side seam
Length: 58" from top of shoulder to front hem, the train extends another 10" ato its longest point at the back

Modern Sizing Equivalent: SML-MED

Item# DD3851

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

Galanos was known as the designer that could rival the French in terms of construction and design. He launched his atelier in 1951 and although his atelier was never formally designated as Haute Couture by the French, he certainly produced clothing that met the parameters of couture and he is often referred to  as one of the great American couturiers. This set was custom made, and my client acquired it from the estate of 1950s model Betsy Pickering Kaiser. Betsy appeared on several Vogue covers in the 1950s and it was during that time period time period that she met Galanos. They were friends for over 60 years. She collected and wore Galanos pieces her entire life and was his friend and muse. He once told her husband ‘I would rather have Betsy wear my clothes than any other woman’. She was a constant presence on the International Best Dressed List and and was added to the Best Dressed Hall of Fame in the early 1970s. It is a wonderful thing to have such a beautiful piece of her history in the shop 

Betsy was a model and was tall and this set reflects that. It is cut to supermodel lengths and is beautiful. It is made of a beautifully printed, light weight silk chiffon that is combined with a metallic red lace. The entire thing weighs ounces and you will be delightfully shocked at how light it is in person. The silk has a washed water colour print with huge abstract flowers covering the entire surface of the silk. The pants are made of two layers of silk and weigh mere ounces. They are cut long and wide with an elastic waist that makes them easy to wear. Over that is a top piece that layers over the pants. The skirt part of this top piece is also made of two layers of silk chiffon. The silk falls from under the lace bodice to layer over the pants. Each side is slit open right up to the lace top. This gives it lots of movement and creates a light floating effect when you walk as the silk moves over the pants underneath. The bodice is made of two joined panels of red lace connected along each side. He placed them together in a way that leaves the sides in a low plunge to leave bare skin showing. This gives you barely there coverage and is very sexy. The lace has a metallic finish and is very fine and very light. I love how it is layered over a nude inner silk lining so that from a distance you look like you are wearing nothing underneath it. This entire top layer is suspended by four tiny silk straps that curve over the shoulders. The contrast between the silk and the metallic lace and the boldness of the colors is wonderful. Excellent condition

The pants are made of two layers of silk chiffon and close with a back painted zipper. They have elastic at the waist. The over dress is lined with a nude silk chiffon through the bodice and the skirt is constructed from two layers of the silk chiffon. The overlay closes on one side with hidden fabric covered snaps. There are a couple of very minor repairs and light snags near the hem of the overlay. This is a one-off, unlabelled custom piece made for Betsy and came from her estate. 

Over dress
Bust: to 18" flat across from side seam to side seam
Waist: to 17" flat across from side seam to side seam
Hips: open
Length: 62" from shoulder to hem

Pants
Elastic waist: 15-18" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Pant: 45" from waist to hem
Inseam: 32" from inner seam to hem

Modern Sizing Equivalent: MED-LRG

Item# DD2278

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.

I have several interesting pieces that have come in 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 their permission would 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 and this was the work around that that Ady negotiated with the ateliers. In my hunt for more information on the label I have been able to verify that they made this permissible copies of the work of Yves Saint Laurent, Christian Dior, Givenchy and Ungaro. There may have been others but this are the four houses I am confident on. I feel that this particular dress has a more Yves Saint Laurent or Ungaro feel to it and I am still actively searching to find its counterpart. The dresses are completely made by hand to Haute Couture standards and are incredible to see.

The dress is made from a silk taffeta and this fabric choice allows it to hold those extravagant lines that you see. It is absolutely beautiful and a testament to the level of design that you only see in couture pieces. The colour of the silk is extraordinary. I have managed to almost capture it in these photos but in person it is even richer feeling then what you see here. At the front the neckline is set in a simple high scoop. The bodice is cut to skim over your curves and is simple in cut to let the other details shine. The sleeves are a work of art. Each is made on a curve to follow the shape of the arm. They are set into the shoulders with a beautiful series of soft pleats so that you get a beautiful sense of volume there. They then taper down to the cuffs where they zip to close around the wrist. The waist is seamed and the skirt is set around the waist in a series of soft gathers that sit out from the waist slightly. This gives the illusion that the waist is smaller then it is and is quite genius. The skirt is one of the best skirts I have seen both from a design point of view and by its level of construction. It is made into two sections. The top section comes out from the soft gathered pleats all around the waist and then it balloons out all around you in a full pouf. It is seamed underneath to catch the fabric back inwards and then the second part of the skirt falls to the floor. That second tier has many yards of silk in it so that it flares out as it reached the hem. Between the two sections is a wide velvet ribbon that wraps around the seam and then you tie it into a bow at the side. What is truly incredible is that all the volume and shape that you see is created purely through the way it is cut and the fabric choice. The skirt does not have extensive underskirts to shape it. The silk of the skirts are interlined in a silk organza to help give it more weight but it is really the genius of the cut that gives it the intended shape. The final perfect detail is the elaborate detailing that runs across the front and back of the bodice and over the sleeves. All of the work is by hand. The intricate floral design has been created by combining embroidery work with tiny black sequins and beads. It is some of the finest hand work I have seen and I love how they have deliberately laid the sequins out so that you get a more matte feel for parts of the design. Inside the dress is completely finished to couture standards with every seam is hand finished. I have taken some detail shots for you to see the fine workmanship inside. It is an incredible piece and absoluteyly beautifully made. It appears to have been worn very little if at all. Excellent condition 

The bodice is fully lined in a matching gold toned silk and the skirt is fully interlined with a slightly gold tinged silk organza. It closes with a back fine zipper and the skirt snaps into place with silk covered snaps over it. 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"
Slightly inset shoulders: 13.5"
Bust: to 19" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: open
Bodice: 15.5" from shoulder to waist
Length: 42" from waist to front hem, 45" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD3685

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 incredible Haute Couture dress that came to me unlabeled. After some research and feedback from my client I think this may be a Givenchy or a Givenchy copy. I have a Givenchy in my own archives from his demi-couture boutique label from this same time period and the construction of the sleeves and the overall lines of the dress are remarkably similar other then the fact that this dress was entirely made by hand. Given the client's overall wardrobe and love of couture combined with the level of workmanship in the dress it is not a stretch. It could also be another of her Ady Couture piece as well. 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 and Ungaro. There may have been others but this are the four houses I am confident on. It is priced as an Ady piece and the context that it would have with that label. The dress is completely made by hand to Haute Couture standards and it is incredible.

The dress is made from a black silk taffeta and this fabric choice allows it to hold the almost sculptural lines that you see. It is absolutely beautiful and a testament to the level of design that you only see in couture pieces. At the front the neckline dips into a V and the dress is vertically seamed to follow and curve over the body. The sleeves are a work of art. Each is made on a curve to follow the shape of the arm They are set into the shoulders with a beautiful series of soft pleats so that you get a bit of volume there. They then taper down to the cuffs where they zip to close around the wrist. At the back the dress is cut into a second V that is lower then the one at the front so that you get a bare expanse of skin. The waist is set to curve in at the front for a suggestion of shape but at the back is is cut so that the low waist and the top of the skirt lifts off and away from the body for more of a sense of volume. The skirt at the front is cut on a bell and curves gracefully away from the hips. At the back it is fuller and cut to fall longer then the front. Underneath is an interior skirt that is edged in a ruffle of black silk netting so that when you move you see just a peek of that from under the top skirt. At the top of the inner underskirt are layers of silk that help to hold the shape at the hips. Otherwise all of the volume is created but the cut and the fabric alone. The perfect final detail is the series of dots that you see scattered over the sleeves and bodice of the dress. These run past the waist and circle the upper portion of the skirt. They are various sizes and some are made from circles of tiny silver sequins while others are a iridescent pale blue sequin. The blue ones catch the light and range from silver to an ice blue. It's incredible. There are also some that are made from the finest little crystal beads. Inside the dress is completely finished to couture standards with every seam hand finished. I have taken some detail shots for you to see the fine workmanship inside. It is an incredible piece and just beautifully made. It appears to have been worn very little if at all. Excellent condition 

The bodice is unlined and the skirt is fully lined with a built in underskirt in a black silk taffeta. Built in paniers around the hip area that I have photoed for you. It closes with a back fine zipper and the skirt snaps into place with silk covered snaps over it. Hidden set zippers at each wrist. Hand finished throughout. It appears to have been worn very little if at all. There may be the occasional sequin or crystal missing on the dots but no bare spots.  Made to Haute Couture standards with a tremendous amount of detail put into its construction.

Sleeves: 24"
Slightly inset shoulders: 14"
Bust: to 18" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: open
Length: 58" from top of shoulder to front hem, 60" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD3677

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

Zandra Rhodes is one of my favourite designers and I love the pieces that she did in the 1980s. This dress is closest  to the work she did for her 'Fairy' collection that was done for the Spring 1981 season. The collection has a strong showing of these black and gold pieces that featured her amazing custom hand painted prints. 

This is a stunning dress that is done in a dramatic combination of black and gold. The skirt is hand painted and the lace on the top has been selected to match and compliment the skirt's design. The bodice is made of a black lace netting that has gold metallic thread woven through to highlight the design in the fabric. The neckline is squared off and I love how the edges of the lace follow the pattern across the neck and back to soften the straight line there. The sleeves are set into that and curve over the shoulders and then run down the arm to just past the elbow. They are unlined so you get glimpses of skin through them. The top curves down past the waist and flares out over the top of the hips. The skirt is set under that and is very full, widening out as it nears the hem. The skirt is constructed in layers. The very outer top layer is a silk organza and then there are layers of tulle with a third inner black silky rayon lining under that. These built in layers are what gives it the fullness that you see and I have not added any extra underskirts. The top layer is completely covered with one of Zandra's signature designs. The gold runs over the entire surface and it is all completely hand painted with a beautiful sun pattern. It is gorgeous and, like all of her pieces, it is very special. It appears to have been worn very little if at all. Excellent condition

Fully lined in a black silky rayon and closes with a back hidden set zipper. The skirt is made up of multiple layers of  as described above. It appears to have never been worn or worn very little. Tagged a UK 12, US 10. 

Sleeves: 16"
Shoulders: no true defined seam
Bust: 18.5" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: open
Length: 60" from top of shoulder to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3605

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

Christian Lacroix launched his Haute Couture house in 1987 and his work was instantly revered world wide. He defined an era and he was crowned the King of Couture. A ready-to-wear line soon followed along with perfumes and menswear. His collections were always exotic and lavish affairs. He drew his inspirations from across the decades and I doubt there was ever a more high glamour couturier. This dress is very special and a stunning example of his work during this time period. It has all the signature Lacroix drama that you could ask for. It comes to me from the original couture client. The twin of this piece walked the runway that season. My client ordered hers in a slightly different shade of silk taffeta and the atelier changed the colour of the stone in the jewelled brooches to match this fabric selection. His couture pieces rarely come to market and this is an exception example of his work. 

The dress is beautiful. It is made out of an iridescent silk taffeta that changes colour slightly depending on how the light hits it. It can go from a deep bronze colour to an iridescent blue tone. Each sleeve is long and slim and cut to end just above the wrist. A row of five silk covered buttons runs up each wrist with working silk loops. The body of the dress is cut into a simple sheath and then it has been gathered up along one side and secured in place with that incredible huge brooch. The brooch is a gold metal circle that has large golden topaz glass crystals mixed with brilliant blue glass stones. The neckline folds over in a curve of fabric and is set very wide across the shoulders, angling down to leave one shoulder bare. The back is tremendously beautiful. That wide neckline from the front dips and angles down at the back to leave a large part of your back exposed. I love how the silk takes on a draped and wrapped effect as it is brought down to the point where the bare expanse of skin ends. Another huge jewelled brooch has then been pinned in place there to anchor the draping. Below that a stiffened panel of silk flares out dramatically to one side in a half bow effect. I have included some shots of the clever way the dress and back close and you can see the meticulous work that has been put into the piece to ensure it drapes perfectly. Excellent condition with a couple of small notes below

Fully lined in a black silk organza and closes with an elaborate mix of a zipper, snaps and hooks at the back. One flaring panel loops through the other. It is in wonderful condition with a few small things to note from normal wear. There is rubber ribboning along the neckline to hold it in place and this has changed colour here and there. There is one stone missing at the bottom of the front brooch. The brooches are removable and you can see little marks on the fabric under them where the pin has been pushed through in different places. There are a couple teeny pinhead marks on the fabric where the brooches have caught on the silk near the brooches. Very minor. It is really in stunning condition. Unlabeled and sourced from the original couture client

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

Modern Sizing Equivalent: SML-MED

Item# DD3602

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

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

This is a softer, more romantic feeling version of the dress that Naomi Campell wore  for the ad campaign that year and Christy Turlington wore in Elle UK. Theirs were fitted all the way down to the hem where this one flares out past the waist and is detailed with a large bow at the front. The fabric used is the same for both. This version is perhaps more wearable for most and a little more forgiving then the very fitted silhouette of the other.

The dress is gorgeous and the fabric itself is part of what makes it so fabulous. It is far lighter then what it looks like it should be. The top layer of fabric is a open work lace that is shot through with a metallic thread so that is has a touch of glitz. The pattern in the lace is then detailed with curving rows of glossy black sequins. The bodice and hem are finished with a silk tulle ruffle. I absolutely love this classic YSL touch and it gives the dress a flirty, girlie feel that it would not have without that finish. The dress falls from the shoulder from little straps and I think that if it fit you perfectly you could probably have the option of tucking these on and wearing it as a strapless pieces. The edge of the bodice curves and plunges. It nips in at the waist and there is a large silk satin black bow set at the center front. There is no waist seaming, it just curves in and then flares out for the skirt. Everything about the cut of the dress is done to highlight the curves of the body from the way the ruffles are set on the bust to the curved lines of the skirt as it swings out and away from the body. It is wonderful. Excellent condition

Fully lined in a black silky rayon and closes with a side set zipper. Tagged a vintage YSL 40

Waist: 14" flat across from side seam to side seam
Hips: open
Length: 38" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3516

Reference Photos: (1-2) Naomi Campbell for Saint Laurent Rive Gauche, 1987.  /  (3) Christy Turlington in YSL for Vogue UK 1987. Photo by Patrick Demarchelier.

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 from the archive of the Roman couture house Tiziani, which was founded in 1963 by American designer Evans Richards. The label quickly became a favorite among celebrities and socialites including Elizabeth Taylor, who was a regular client; Doris Duke, Gina Lollobrigida, and Principessa Borghese. The label is also famous because of the fact that as a young designer, Karl Lagerfeld accepted a job there. Lagerfeld worked at Tiziani from 1963 to 1969. This piece is unlabeled but has the provenance of being a part of a past auction that featured the sketches and a few select pieces of work from Karl Lagerfeld's time at the label, this dress being one of them.

The dress is constructed from a fine, pale yellow silk chiffon that in person is a prettier and more pale lemon colour then how it photoed. The colour is even prettier when you see it in hand. The dress is very beautiful and has a very romantic feel to it. The silk it is made out of is extremely light and airy and the skirt has used yards and yards of it in its construction so that it feels like it is floating around you when you move. The bottom of the skirt is finished with a edging technique that uses a thin strip of stiffening fabric hand rolled within its edge. This lets the silk ruffle and curve as you can see in the photos. The work on this dress is meticulously done. The bodice is equally as fabulous and it has been adorned with a dense coverage of a metal thread applied in a honey comb pattern. Over that is an intricate application of hand beading to create the little discs that you see covering the bodice at the front and the back. I love the little flowers formed in the centre of each medallion and how Lagerfeld has used the smallest hints of pink in there and along the edge to pop against the yellow. The bead work is extremely fine and mixes embroidery work, real metallic thread, seed beads, crystals and larger beads. These give the dress a touch of glitz and sparkle. It also adds a 3D feel to the piece. Note that he has curved the beadwork down but left a gap deliberately on each side. It almost feels like a suit of armour because of this and offers a touch of contrast against the soft feeling the dress has. The neckline is squared off at both the front and back. The sleeves are very full and pouf above the cuffed wrists. Each sleeve is unlined so that you get a touch of transparency there. The construction of the dress is entirely by hand and it is done to Haute Couture levels and I have included lots of interior detail shots so you can see. It is extraordinary and an amazing piece of fashion history. Excellent condition with a minor note to review below

Fully lined in a hand set yellow silk through bodice and the skirt has an inner skirt that is made of silk and then covered in silk chiffon. It closes with a hand set  back zipper. Each cuff buttons to close. The outer skirt is finished with a thin stiffened strip that is hand rolled and encased in silk that helps to give the bottom of the skirt that ruffled effect that you see. All hand work throughout and made to couture standards. There is some fraying to the inner edge of the top of the neckline (see final photo) and some of the threads on the 3D beads have loosened slightly so tend to flop over a bit. There are a couple of really faint darkened areas in the silk here and there but you really have to look for them and they get hidden in all of the yards of silk used. Perhaps a touch of grubbiness here and there to the very edges of the hem

Sleeves: 26"
Slightly dropped shoulders: 16"
Bust: 18" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Inner hips: 20" flat across from side seam to side seam
Length: 60" from shoulder to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3499

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 wonderful little 1920s flapper dress was completely made by hand and a wonderful example of the level of craftsmanship being utilized during this time period. It has its original Made in France label still present and these pieces were always a little higher quality then some examples you see from the time period. It has no other label but it is not hard to imagine that it might have been a designer piece as well. The base of the dress is a black silk netting that is strong and sturdy. Onto this is an intricate design made up of gelatin sequins set boxes. Each is a combination of purple, pink & turquoise in an alternating design. The placement of each sequin is by hand and it is amazing to think of the time it would have taken to make the fabric alone. The center of each block makes me think of a cluster of little pink "hearts" that are then surrounded by an abstract shape. A metal based gold lame thread and tiny little gold tubes beads are then shaped around each to make the block design that you see.  These are then stacked in rows to cover the dress entirely with the black netting serving as the separation between each. This combination of colored sequins, gold thread & beads is absolutely fantastic. There is an extra panel of netting inserted at each hip to give the skirt extra flare. Excellent antique condition

The dress is unlined and slips over the head to wear. The edges of the side net panels are raw and at one time there may have an extension to them but it is now cut even with the hem. I see no other flaws and it appears to have been worn very little if at all and is wearble with the care it would deserve to be worn with. Even with that small defect the dress is remarkably sound and shockingly beautiful. It is almost 100 years old and is considered to be in museum quality condition.

Bust: 17" from side seam to side seam
Waist: 16" from side seam to side seam
Hips: 17" from side seam to side seam
Total length: 40" from shoulder to bottom hem

Note that antique and twenties pieces are final sale. They will be packed exceedingly well and we only sell pieces that will stand up to the stress of shipping, however, having pieces potentially shipped multiple times through multiple customs and countries is too hard on garments that are historically important and deserve to be treated with love and care. Please purchase accordingly.

Modern Sizing equivalent: XS-SML

Item# E290

This garment is in sound, clean, as found condition and is odor free. Thoroughly checked over before shipping, it will be ready to wear upon arrival