The dress comes directly from the original couture client and is in immaculate condition. The twin of it walked the runway for the Spring 1987 Haute Couture presentation and my client ordered this identical dress from that show. This is an exceptional example of Valentino's Haute Couture work that he was doing during the 1980s. Finding pieces from this time period in such immaculate condition is a rarity and I am very pleased to have this beautiful dress in the shop. I am also very pleased to have the runway shot of it for reference.

The lines of the dress are beautiful and I am glad to have that runway shot so that you can see just how wonderful it is on an actual body. Couture pieces are sometimes difficult to truly show in a photo as they are meant to highlight and show off the body and only truly come to life when worn. The fabric is a light silk crepe and it is cut to drape perfectly over the body, skimming over your curves to flatter and fit perfectly. The color is absolutely fantastic. It is his signature clear red that flatters most skin tones. It is a better shade of red in person then how it has photoed. If you know Valentino's work, then you know this red already. The top is sleeveless and angles in towards the high collar. There is a long band of fabric that runs down one side from the collar to the top of the hip and all of the fabric on either side is set to gather in towards that band. A large flat bow its at the top of the band and and I love how the shoulder is left bare beside it to really showcase the bow. A second bow sits at the bottom of the band so that you are wrapped in silk and finished up with those pretty and feminine touches Under there the skirt falls to the floor with in an expansive amount of fabric. It is cut on a curve all the way around and comes up shorter in the front. The back hem is cut longer so you get a slight bit of a trained effect there. The amount of fabric in the skirt is tremendous but its so light that it falls long and sleek when you are standing but can expand out almost to a full circle skirt if you twirl. The entire bottom edge is finished with a red silk satin banding. It is just stunning on the body and an amazing example of his earlier Haute Couture work. Excellent condition. 

The bodice and top portion of the skirt are lined in a fine red silk. Done with Haute Couture construction techniques and closes with a hidden set zipper under the front panel of fabric and then has silk covered snaps & hook one eye. Inner waist stay hooks to close. 

Bust: 18" 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
Length: 43" from neck to shortest point of the front hem, 61" to the longest point of the back hem

Modern Sizing Equivalent: SML-MED

Item# DD3579

Reference Photo: Dalma for Valentino SS 1987 Haute 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 is the long version that was made from two pieces shows for the resort runway for that season. You can see the same top of the green dress here and then the same red silk organza used on the the second dress we have induced for reference. Combining the two elements and making the skirt full length results in this gorgeous dress. 

This is a stunning example of Ferrertti's more recent world and a very pretty dress. The red has a touch of a coral tone to it and the fabric choice gives it a light and romantic feel. The bodice and lower skirts have an extensive paneling of an embroidered, open cut owrk lae feeling fabrication. It's pattern combines different sized flowers that are layered over each other with  parts of the design open. On the top this is set to engine down on north he front and back with the silk red silk on the side.A bide coloured mesh sits behind the plunge at the front so you get the illusion of a deep neckline but it is very secure and safe. At the back there is a little option start of fabric that you cansnap into place or fold that back as I have for a deeper more open plunge. It nips in at the waist but with a slightly generous feel and then the skirt is full and falls to the floor under that. The entire bottom half fo the skirt is covered int hat same embroidery work as the top. It is a very pretty dress and has a touch of a vintage feel to it. Its very soft and romantic and feminine. It appears to have never been worn or worn very little. Excellent condition 

Fully lined in a red silk and closes art the back with a hidden set zipper. Tagged a US6. It appears to have never been worn or worn very little.

Bust: to 18" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Inner hips: to 21" flat across from side seam to side seam
Bodice: 16" from shoulder to waist
Skirt: 44.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3578

Reference Photos: Resort 2015 Alberta Ferretti Collection. Model: Josephine van Delden.

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 Nina Ricci Haute Couture house was founded in 1932, at 20 Rue de Capucines in Paris and became one of the pre-eminent couture ateliers in the world. In 1964, Gérard Pipart succeeded Jules-François Crahay, Nina Ricci's former designer assistant who took over the atelier in 1954. Over the following three decades, his Haute Couture vision "celebrated a flamboyant woman and his ready-to-wear found a loyal following among the most stylish women of the day."

This dress is a wonderful example of Pipart's vision for the house and is a stunning example of the work that the atelier was producing during this time period. The dress is made of from a fine silk chiffon that has been dyed to the perfect red. Every stitch is done by hand and the hours that would have been put just into the hand rolling and stitching of all the edges on the various layers on the skirt alone is mind-boggling. The skirt is made of four full layers of bias cut silk that is layered over each other in cascading tiers of fabric. Each layer is cut to curve up slightly at the front and dip down longer at the back. The layers of silk create a beautiful sense of movement and lightness when you move. The bodice is beautiful. It is densely beaded by hand in a pretty floral pattern all the way around from front to back. Tiny silk straps curve up and over the shoulders. Along the very top edge of the neckline at the front is an attached panel of silk chiffon that wraps up and around the neck leaving the silk to trail down the back. This little extra detail creates a bit of high drama and intrigue to the design. The scarf is original to the dress but may have been attached at a later date. It would be an easy job to unattached it and have it as a separate piece again if you wished. It is stunning in person and on the body. Excellent condition with one small note below.

Fully lined in red silk chiffon and closes with a back hand set zipper. Finished to Haute Couture standards and entirely made by hand. There are two small areas of a darkened spots on both sides of the attached silk panel. Please see the two photos after the label shot. Depending on how this is tied and styled it does not necessarily show and if was unattached again you would have the option to not wear it with the dress. The proper Haute Couture label is present.

Bust: to 16" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: open
Bodice: 16" from neck to waist
Skirt: 40" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2369

Quote and historical info on the house is taken from the Nina Ricci Website

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

Youseef joined the Malcolm Starr label in 1969 and remained as the head designer until 1975. The years that Youssef headed the line are among some of my favourites. While at Malcom Starr he designed pieces that had his name on it and the Malcolm Starr International label as well. Rizkallah was born in Egypt and studied at the Ecole de dessin appliqué and the Ecole des arts decoratifs in Paris. His designs seem to combine that sense of couture drama and cut that he learned while in Paris with the color and vividness of his homeland.

The colors in this dress are amazing and when combined with the gold metallic thread that runs through the silk from top to bottom, the final effect is just beautiful. The exterior is made from a printed red silk chiffon. Woven through the silk are little golden dots made out of a metallic gold lurex. This adds a subtle shine to the entire dress. Picking up on that are curving bands of gold sequins that have been hand applied onto the silk. These follow the curving parts of the design on the silk. Some parts of the pattern have an even denser application of the sequins for added glitz and to highlight that part of the design. This multi-layered textural feeling makes the fabric feel rich and exotic. This is then layered over an interior red silk lining through the skirt and front bodice. The back and sleeves are not lined so you catch a glimpse of skin through the silk. The sleeves are wonderful. Each extends from the bodice in a wide swatch of fabric and then taper down as they reach the wrist so that they billow out. The neck is simple and slightly scooped. The skirt falls from the waist and gently widens out as it nears the floor. It is a beautiful, dramatic piece and it is even better on person and on an actual body. Excellent condition.

Fully lined in a deep red silk with the sleeves, shoulders and upper back left unlined. It closes with a back painted metal zipper from the waist down and buttons above that to the neck. Each sleeve has a snap at the cuff.

Sleeves: approx 24" from natural shoulder
Shoulders: no defined seam
Bust: open with no defined side seams
Waist: 13" flat across the back from seam to seam
Inner hips: to 21" flat across the back from seam to seam of the skirt's lining
Bodice: approx 15" from neck to waist
Skirt: 44" from waist to hem

Modern Sizing equivalent: SML-MED

Item# DD3224

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 stunning and rare gown was designed by Bob Mackie. Mackie shot to fame with the work he did dressing Cher. The best of his work is dramatic and opulent and he was a master at print and color. He worked for both Edith Head and Jean Louis, where he drew Marilyn Monroe's famous 'Happy Birthday, Mr. President' dress, prior to working as a costume designer and co-designing with fellow costume designer Ray Aghayan who would become his life partner. That led to his incredible journey in designing for stars like Cher and Diana Ross for many years. In many ways it was his work and his creations that really defined their careers and helped to shape that entire idea of high glamour on the small screen. How work is incredible and this dress is one of the favourites I have had in the shop and shows his range as a designer beyond his signature beaded pieces.

This is an extraordinary Bob Mackie dress that is made in a vivid coral silk chiffon. Onto the silk are huge pink and soft orange closers set among bright green leaves. This colour combination is stunning to see. The bodice is made into a corset that is hidden under the extensive draping of the silk the covers it. Inside it is fully formed and shaped for full support. The fabric at the front crosses over itself to highlight the shape of the bust and the top of the bodice is set in a  high peak. This visually cuts on the waist and adds length. The skirt flows out from under the waist and it is made up of yards and yards of silk set in individual panels priced together. This allows the silk to really move and the movement it creates as you move is just incredible. It is cut on a curve so the layers at the front are shorter which allows some leg to show when you walk. The skirt is made up of thee full layers of silk and under that top printed layer are two more layers of a solid coral silk chiffon. All the silk is cut on the bias. The dress comes with its original matching cape piece. This buttons at the neck and then flows down and around you. It is cut on that same curves line that angles down and back around you. The colour is a bright tropical feeling print and it is truly one of the best dresses of his that I have seen. Excellent condition with one small note below

The bodice of the dress is fully lined in a red silk. The skirt has two inner layers of coral silk that follow the line of the outer layer. The bodice is shaped and and fully boned inside and has an inner waist stay that hooks to close. It then closes with a back painted metal zipper. Hand finished throughout and hand rolled edges. There are some small repairs to the edge of the hem of the cape

Bust: to 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 12" from top of the high peaked bodice to bottom of inner waist
Skirt: 45" from waist to longest part of hem
Cape: approx 60"

Modern Sizing Equivalent: SML-MED

Item# DD3384

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 exquisite 1920s dress is made from a mix of real metallic gold thread woven through a deep burgundy silk. It is so hard to find pieces at this level from this period anymore and this one is extraordinary.

To find a dress from this period in this mix of a deep burgundy and gold like this is very unusual. In person the gold is the more predominant color and these early lame fabrics have a textile feel to then that you can no longer find in modern garments because of the way the fabric was made. There is a secondary floral pattern through the silk and this runs over the dress from shoulder to hem. The cut is kept simple and reflects the time period perfectly. Wide straps extend out from the halter cut of the bodice and curve over the shoulders and down the low cut back. The front dips into a deep plunge, crossing over itself slightly where it meets the band at the waist. At the back it dips equally as low but here the plunge is rounded at the base. From just under the bust the the top of the hips the fabric is gathered and wrapped around to follow the curve of the body. The gathers meet down the center on both the front and back sides in an elaborate panel. Below this the skirt falls to the floor in a series of soft pleats from just under the banding around the hips. The middle front seam of the skirt is left partially open so that you get an extra peak of leg when you move. The dress is entirely cut on the bias and drapes beautifully once on the body, moving around you like liquid. It is a remarkable example of the work being done during this time period. The color is still vivid and the fabric is strong & wearable. Excellent condition with notes to review below

Unlined and slips on to wear with a row of metal hook and eye down the side to close it. Hand finishes throughout. There may be the occasional darkening to the lame here and there but nothing outstanding. This is a natural occurrence to this type of fabric. I do not consider this to be a flaw and any tiny areas only add to the patina of this outstanding gown. For a piece that is almost 100 years old is it to be considered in outstanding, museum quality condition.

There is a small area of thinning of the fabric in the skirt that is just off from the side the front middle seam. It appears stable and I chose to leave it as it gets lost in the folds once the dress is on. There is an older repair to the hem of the skirt - I have photoed both the front and back where it was reinforced (the 2nd and 3rd last photo). Please review the last three photos. The fabric does have some stretch since it is all cut on the bias - the under bust measurement is fixed with no give - if you fit that then the size may otherwise fit a range of sizes.

Seam Under bust: 13.5" flat across from side seam to side seam with no give
Waist: to 14" flat across from side seam to side seam
Seam just above hips: to 17" flat across from side seam to side seam
Hips under the lowest seam: open
Bodice: 13" from top of shoulder to seam under the bust, approx 23" from shoulder to lowest seam just above the hips
Length: 60" from shoulder to hem

Modern Sizing Equivalent: XS-MED

Item# E655

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.

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 Nina Ricci Haute Couture house was founded in 1932, at 20 Rue de Capucines in Paris and became one of the pre-eminent couture ateliers in the world. In 1964, Gérard Pipart succeeded Jules-François Crahay, Nina Ricci's former designer assistant who took over the atelier in 1954. Over the following three decades, his Haute Couture vision "celebrated a flamboyant woman and his ready-to-wear found a loyal following among the most stylish women of the day." This late seventies gown is a wonderful example of Pipart's vision for the house and is a stunning example of the work that the atelier was producing during this time period.

This dress is spectacular. It is one of the best Nina Ricci pieces I have seen. This is true Haute Couture label from the atelier and every stitch has been done by hand. The hours that would have been put into making this dress and ensuring that drape and line are perfect are mind-boggling. The dress is made out of a fine silk that has been dyed to the perfect clear red. In person it is perhaps a touch brighter and better then how it photoed. The silk that has been chosen for the fabric gives it that fantastic drape you see. The fabric is so light that the dress seems to  float around you when you move. The neckline is slightly scooped and the silk is gathered up on one shoulder. It skims over the waist and is gather into a low drape over the skirt. On the side opposite to the draped shoulder there is another gathering of the silk. The creates a lovely long line through the body. The skirt flows to the floor from under that. It is cut on an angle at the hem and one corner of the back skirt is left longer so that it trails down and past the lower hem to create a slight trained feel. There is a slit up the leg and above that, a tightly spaced row of buttons that run up the side and disappear under the drape of the bodice. The sleeves are amazing. They are each cut to drop to the floor and flow around you every time you move. Here Pipart has again played on the asymmetrical feel he has created for the dress and he has cut one sleeve to be longer then the other, with the longer one set on the same side that the skirt is longer. The final touch is that fabulous pleated double flower at the neckline that gives it the perfect finish. This little extra detail creates that last bit of high drama to the design. Excellent condition with some small notes to review below.

The body of the dress is fully lined in red silk crepe and the skirt and sleeve are unlined. It closes with a side, hand set, zipper and a second one at the top of the shoulder where the flowers are. Light padding in the shoulders. Finished to Haute Couture standards and entirely made by hand. Note that there is some grubbiness on the trailing parts of the silk panels and some very tiny areas of thinning/picking of the fabric on the lower trailing panel of the skirt especially. Some small areas of darkening on the sleeves. Once on these do not detract at all and the fabric and dress is strong and stable. This is more from not being stored properly prior to my acquiring of it. I have included photos after the label shot to review. It is cut on the boas so there is a little play on the measurements. Haute Couture label present and made to couture standards.

Sleeves: the left is approx 62", the right is 52"
Shoulders: 15.5"
Bust: to 16-17.5" flat across from side seam to side seam
Waist: 12-14.5" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: approx 60" from neck to front hem and the trailing panel extends another 15" longer

Modern Sizing Equivalent: SML-MED

Item# DD3386

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 great set by Giorgio Sant'Angelo that is a real statement piece. We found a photo of a similar jacket paired with a skirt and top that was used in his ad campaign that year. It gives you a great idea of how it looks on and how versatile it can be. 

 The red is a great crisp tone that will flatter most skin tines. The jacket slips on with no closures. It has no collar and the front curves down as it reaches the hem. I love the line this creates and how the hem has a little bit of a flare. The entire front is covered with a curving pattern made out a of a red cording . This curves up and around the shoulder and runs across the back neck. The edge of the front has domed gold studs set along along it. More of these, as well as red paste rhinestones are interspersed through the cording. More of the same circles each lower half of the sleeves. The pants have a banded waist and the legs are full and pouf above the cuffs. Each ends just around the knee and have a button to close each cuff.  Pockets along each hip. Excellent condition

The jacket is lined in a red silky rayon and has no closures. The pants button and zipper to close. Buttons on each cuff and pockets along the hips. Padding in each shoulder

Jacket
Sleeves: 22"
Shoulders: 16"
Bust: to 21" flat across from side seam to side seam
Waist: 19" flat across from side seam to side seam
Hips: 22" flat across from side seam to side seam
Length: 24" from neck to hem

Pants
Waist: 13" flat across the back from side seam to side seam
Hips: 20" flat across the back from side seam to side seam
Pant length: 30" from waist to bottom hem
Inseam: 18.5"
Pant cuffs" 14.25" around and you could move the button a bit of needed

Modern Sizing Equivalent: SML-MED

Item# DD3536

Reference Photo: Giorgio Sant'Angelo Ad, Vogue, September 1981.

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

This dress and coat set is extraordinary. After much research I have dated it to the mid-fifties while Christian Dior still presided over the house. You can see a striking similarity to the color and print in the examples shown here from the Haute Couture collections between 1954 and 1956. The label is the Modele Original label that was done one a custom order / custom made basis. The designs were based on the Haute Couture presentation from that season and then special ordered through the London store by clients. The work was considered to be demi-couture. It is not unusual to see variations and small changes from the runway line in these while still retaining the same color and line references found in the Couture examples.

Both the coat and dress are numbered and entirely hand finished and extremely well made. The silk used is very fine with a soft washed floral print screen onto the entire surface of both pieces. The dress is backed in a feather light silk organza while the coat is a double layer of the silk with the organza lining only found in the sleeves. Both pieces are so light that each of the two pieces have hand placed weighted hems in their interiors so that they fall and stay perfectly in place. The seaming is wonderful with the shape deliberately created through the placement of the seams. The inner dress has a voluminous cut that is wider and has more volume through the upper body and then narrows in towards the hips and hem. There is a small notched neckline anchored by a flat bow at the front and the back has a low slung flat bow and strap detailing set at the base of the small of the back. It is cut to be loose and full through the body and has an almost cocoon shape to it. The coat is cut with even more volume. These exaggerated lines and shapes perfectly showcase the feel of that era and would have been cutting edge then and still feel avant garde now. The evening coat is collarless and cut to sit almost off of the shoulders. On an actual body it has an almost slouched feel and the back puffs out tremendously in a beautiful curving swoop. The seams are all cut gracefully on a curve and the sleeves are to the elbow and wide. It is wonderful. Excellent condition with minor notes to review below

Both pieces are lined in hand set silk, the dress in an organza and the coat in the same silk as the exterior and silk organza through the sleeves. The dress closes at the back with a series of hook & eye and snaps at the back and a low set zipper under that. The coat has no closures. Hand placed weights in both pieces. Slight stress points at the corner of the lining under each arm. Please review the photos after the label shot. The dress is numbered 19013 and the coat 19012.

These were made to be worn over-sized. The hips on the dress do narrow down and there is no give there. The generous proportions should allow it to fit a range of sizes.

Jacket
Sleeves: 12.5"
Shoulders: 23"
Bust: 25.5" flat across from side seam to side seam
Waist: 25.5" flat across from side seam to side seam
Hips: 25.5" flat across from side seam to side seam
Length: 40.5" from neck to hem

Dress
Bust: 22.5" flat across from side seam to side seam
Waist: 19.5" flat across from side seam to side seam
Hips: 20.5" flat across from side seam to side seam
Length: 41.5" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# DD2674

Reference Photos: (1) Dovima in Dior, 1956. Photo by Henry Clarke.  /  (2) Dior Afternoon ensemble, 1954 from the Chicago History Museum Collection.  /  (3-5) 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.

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 is, a great success, with a strong cult following and it is wonderful to find such and amazing vintage pieces.

Kenzo traveled the world and his designs often mixed in the influences from those travels. He would mix traditional Japanese cuts and tailoring methods with 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 is. This suit is fabulous. The fabric looks like it should be a heavy woven brocade but it is actually quite light. It is woven but it is very fine and soft. The skirt is cut quite full so that that when you move it has tremendous fullness. Yet because the fabric is so light it falls fairly straight with just a suggestion of that fullness when it is on the body. At the hem it is finished with a wide ruffle that adds to the pretty lines. The jacket is superb. It is cut to fit to be fitted to the body with full shoulders and sleeves that narrow in at the wrist. The front wraps over itself and buttons. The front panel is detailed with a large embroidered cluster of flowers set down the front. The waist nips in and then the hips flare out in a peplum. I love everything about it and these early pieces are even more collectible now. It appears to have never been worn or worn very little. Excellent condition.

Both piece are unlined. The skirt slips on with an elastic waist and the jacket closes with the buttons at the front. Each cuff of the jacket closes with two buttons. It appears to have never been worn or worn very little. 

Jacket
Shoulders: 14" across
Sleeves: 23" long
Bust: 16" flat across the back from seam to seam
Waist: 13" flat across the back from seam to seam
Length: 21" from neck to hem

Skirt
Waist: 12-15" flat across from side to side
Hips: open
Length: 27" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD1914

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 favorite designers and it is always a treat to have one of her pieces for you. This is an incredible cut velvet fabric that she has had custom made with one of her own proprietary designs. It gives it that incredible Zandra Rhode touch while hearkening back to the decadence of the twenties in feel. 

This is a very wearable, gorgeous piece that can go for a fancier day piece to full on evening wear. The fabric is unusual for her but still showcased one of her signature designs within its patterns. It is done in a rich deep jewel burgundy red and a black chiffon base. The chiffon parts are partially transparent but it is backed in a black fabric so that you get depth but without the dress being see-through. Onto that is the pattern in a fluid devore cut velvet. It is incredible sensual and  feels wonderful when on the body. It is cut to skim over the body with a loose and easy waist. It gently widens out as it nears the hem and this makes it very easy to wear. The bodice has just a touch of detailing across the front with a small detailing of hand applied sequin paillettes and beads. The sleeves are unlined and are cut wide and full to just about the elbow, they are open along the inner seam and slightly overlay there so that when you move they have incredible movement Each is finished with the same bead and sequin detail all around the edge. I love the silk finish around the wide cut neckline. It is the perfect finishing detail. The dress appears to have never been worn, or worn very little. Excellent condition

The dress is fully lined in a black silky rayon and it closes with a back zipper. The bead and sequin work detailing are hand applied. This came from the estate of a very good Rhodes client and may have been a custom order. It looks to have been worn very little if at all. 

Shoulders: 15.5"
Bust: to 19" flat across the back from side seam to side seam
Waist: to 15.5" flat across the back from side seam to side seam
Hips: to 21" flat across the back from side seam to side seam
Length: 53.5" from shoulder to longest points on the hem

Modern Sizing Equivalent: SML-MED

Item# DD3528

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 favorite designers and it is always a treat to have one of her pieces for you. This print matches pieces from the Spring 1988 collection entitles the 'Fantastic Flower Garden' which featured little flowers set within curved lines in the backdrop and little crosses on the petals of the flowers.

This is a very wearable, gorgeous piece that can go for a fancier day piece to cocktail wear with ease. The fabric is her signature hand painted silk chiffon and this one is done in a flattering deep red with a charcoal print. This lies over a silk satin interior that feels wonderful when on the body. The dress has an asymmetrical hem and panels of fabric that are sewn on in tiers and on the bias to create a floating feel around you. They are set like a softer version of a handkerchief hem. This gives the dress a lot of movement. It is cut to skim over the body with a loose and easy waist and then the skirt flares out. The bodice has just a touch of detailing to highlight some of the floral prints with hand applied sequin paillettes and pretty faux pearls. The sleeves are left unlined and have that same panelled floating technique used on hem of the skirt so that they are light and airy feeling as well. It comes with a matching extra long sash that can be tied around the waist like I have done or you can wrap it around the neck or even tie it like a turban around you head. It is lovely and highly collectible. Excellent condition

The dress is fully lined in red, light silk satin and it closes with a back zipper. The bead and sequin work detailing are hand applied. Comes with a long wide sash and there are several pieces of matching fabric that came with it. This dress may have been a custom order and I think these are fabric swatches sent in advance of the actual making of the dress. It looks to have been worn very little if at all. 

Shoulders: 14.5
Bust: 17" flat across the back from side seam to side seam
Waist: 14" flat across the back from side seam to side seam
Hips: to 20" flat across the back from side seam to side seam
Length: 45" from shoulder to longest points on the hem
Sash: 17" wide x 102" long

Modern Sizing Equivalent: SML-MED

Item# DD3507

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 one of the most incredible things I have ever had. At first glance I thought that it must be from the 1940s but I actually think it is earlier that that, largely due to the fused/glued on sequins that are attached directly onto the fabric. You usually see this done slightly earlier in the timeline. Beyond dating, it is just incredible. The set consists of two pieces; a soft halter and a sarong style skirt. The halter is soft and wireless as fitting for the time period and it is backed in an ivory silky rayon. I photoed the back of it for you to see. It simply hooks into place and ties around the neck with nude coloured ribbon. It is cut fairly wide and has just a simple seam down the front. The sarong is equally as simple. It wraps around you and hooks into place under the attached ties that extend out from the skirt. It slightly overlays but is open all the way down under where it hooks. I photoed it at the side but you could also wear it with it hooked just under the belly button. The fabric is absolutely incredible and a really stunning example of textiles from this era. It is a soft coral tinged red that has an extensive print covering its surface that depicts Hawaiian life. I have photoed several of the vignettes for you to see. Worked into the design are words that include Aloha. Highlighting this are hundreds of little sequins in red, green and gold that are fused directly into the fabric. These catch the light and give the set an extra shot of glam. You could easily see some Hollywood starlet wearing this and it is truly incredible. Excellent condition 

The halter is backed in a silky rayon and hooks to close and the back and ties around the neck. The ribbons seem to be original. The skirt is unlined and hooks to close. The sequins show some patina from age but overall for its age I would rate it as excellent. A remarkable find

Halter
Bust: measures 31" flat end to end from where the hooks are currently set 
Height: each cup is 6" tall at its widest point

Skirt
Waist: 14" flat across from side seam to side seam
Hips: 19.5" flat across from side seam to side seam
Length: 34" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# D624

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 likely the early work of Elinor Simmons before her name went on the labels. She designed for the Malcolm Starr label from the early 1960s to 1972. You can see her influence in this classic feeling Malcolm Starr dress with its almost sculptural lines and addition of the rhinestone embellishments on the bodice.

At fist glance the fabric used almost looks quilted, but upon closer inspection you realize that the little quilting lines are pressed directly into the fabric. This gives the dress an instant shot of added texture that is very pretty. The fabric seems to be a cotton or cotton mix. This allows it holds the shape and the colour beautifully. The bodice skims over the torso with darling little capped sleeves. The waist line is defined with a seam and set just a touch higher then the natural waist for a hint of an empire feel. The neck is high with a notched front. The skirt neatly falls from the waist and gradually widens out to just about the knee or slightly under. The fabric is a pretty pinky red that has a bit of a cherry feel to it in person. I love the little sprays of flowers that cover the surface. The centres of the flowers are finished with little coloured rhinestones and this gives the dress a touch of glamour. The colours used are wonderful and the dress is gorgeous. I love that it has pockets hidden away along the seams of the skirt. It is really a lovely dress. Excellent condition.

Fully lined in a red silk and it closes with a painted back metal zipper. It appears to have been worn very little if at all. Note that the colour is more a pink red in person and even better then how it photoed

Shoulders: 15"
Bust: 17.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Bodice: 14" from top of bodice to waist
Skirt: 24" from waist to hem with 2.5" turned under the hem 

Modern Sizing Equivalent: SML-MED

Item# DD3506

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

When researching this dress I found the same print used on dress from one of Thea's very first fashion shows, held at the Greek street shop in London. The label on this dress is unusual and I reached out to fashion historian and author Laura McClaws Helms. She told me that in the very early days Thea would sometimes meet with boutique owners and agree to sell select pieces to them. We agreed that this must have been a very early collaboration resulting in this extremely rare label. I love that it uses some of the same fabric as the dress presented in the book.

The dress is stunning. It feels a bit like her 'Faye' dress in design, but with huge voluminous sleeves that are brought in at the wrists, and that fantastic panel of print that runs down the full front and back. The dress has been made from a fine black silk chiffon for the sleeves and outer panels of the skirt. The printed panels are also a silk chiffon and they are completely covered in a graphic, swirling pattern that utilizes a bright red, white and black. The fabric has a touch of transparency to it where it is a single layer like the sleeves. And because of how the sleeves are set, it leaves the entire upper sides of the bodice transparent as well. Which is just insanely sexy. The rest of it is lined for a more opaque feel. The sleeves are cut extremely full and each comes out from the sides of the dress right from the shoulder down to the waist. This fullness is then caught up at each wrist with a tie edging made from the same printed chiffon. The high set waist is highlighted with a banding of the printed silk and this extends into long ties that you can cinch to add more shape if you wish or wear it loose and easy. The neckline is cut high and that gorgeous panel of print runs down the front of the  entire dress. It then circles the hem in a very wide band of fabric and another panels runs down the full back. The dress is absolutely stunning and an outstanding and rare example of Thea's collaborative work. It is also important for being such a fine and early example of her work. Excellent condition with one small note below

Fully lined in a black silk chiffon except for the sleeves which are unlined. The dress zips to close at the back. The band at the waist extend to ties that you can cinch in the waist as desired. Hand finishes throughout. One of the ties at the wrist has damage. When it is tied it is completely hidden within the tie. Please see the photo after the shot of the label.

Sleeves: approx 28"
Inset shoulders: 12"
Bust: no true side seams
Empire waist under the bust: 14" flat across from side seam to side seam
Hips: open
Bodice: 12" from top of bodice to waist
Skirt: 45" from waist to hem

Modern Sizing Equivalent: XS-SML, Maybe a medium if the under-bust measurement will work

Item# DD3491

Reference Photo: (1) Chiffon Dress from a 1969 Thea Porter presentation on Greek Street, London. From the book "Thea Porter: Bohemian Chic".  /  (2) Model in Thea Porter, 1969. Photo courtesy of Laura McLaws Helms.

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 belt by Yves Saint Laurent and dates to the time period from when he was creating his famous Russian collection. You can see in the reference photos how this style of belt was used in a variety of colors and finishing details to perfectly set off the collection. This one is a beautiful cool red canvas on a red leather base combination. It is trimmed with a red, white and blue braiding with long red and blue braided ties. At the end of each tie is a knot and a large glossy red bead. It simply wraps and ties at the front and can top just about anything. This is an important piece of fashion history and a rare find. Excellent condition

Marked a brand size 2 and measures 25" from end to end of the actual belt part and then the braided ties extend a 21" on either side. The total length including the ties is 67". The belt itself is 2.5" wide. Perhaps a touch of grubbiness to the braiding but no true flaws

Item# A372

Reference Photos: (1) F/W 1976-77 Yves Saint Laurent evening ensembles from The MET Collection online.  /  (2) 1977 Yves Saint Laurent Rive Gauche Ad.  /  (3) 1976 Yves Saint Laurent Peasant collection for American Vogue.

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

For the Vogue review of the Spring 2016 Vetements show, Sarah Mower stated: The entity that goes under the name Vetements has caused quite a quake through fashion—bottom-up, from nowhere. Just when—by looking at mainstream corporate luxury-goods norms—it seemed that cool was dead and buried and nothing “alternative” could ever again survive, along came a couple of brothers, Demna and Guram Gvasalia, and their collective of friends, to prove skeptics wrong....At top speed, Demna Gvasalia and his co-conspirators confirmed everything their following likes about their off-kilter, elegant, giant-jacketed tailoring and clunky romantic dresses, and then bettered it all. ...Then came the dresses, in a stunning number of new, colorful, and punchy-sophisticated ideas....Demna Gvasalia himself learned the ropes at Maison Martin Margiela, before setting up Vetements and getting on with proving that there can be a different way of doing things. Apart from their stylistic insights into what people really want to wear, it feels like the beginning of something else, too—perhaps something like the power of niceness and friendship in an industry that could do with a lot more of that."

This dress was one of the favored among the street style set and was photoed endlessly it seemed for various editorials. It sold out world wide and was wait listed. It is impossible to find even now I am very pleased to have sourced one that has never been worn and is absolutely perfect. It feels as fresh and avant garde as it did then and will absolutely be a future collectible. The black base fabric is covered with a large floral print that runs over the entire dress and the cut is oversized. The body of the dress is made of layers of a chiffon and the sleeves and all the ruffles are made out of a heavier, stiffened fabric that gives them shape and structure. The shoulders are cut wide and are meant to be prominent. You can see the beginning of their signature asymmetrical setting of the skirt that carries through to present collections. It is remarkable and a true piece of fashion history that will only increase in value as time passes. I also have a red version of this same dress that is also new with tags. Original tags attached. Excellent condition.

Lined in the same chiffon and slips on to wear. Tagged an XS but is meant to be worn over-sized. It will fit a range of sizes because of this.

Sleeves: 29"
Shoulders: 17.5"
Bust: 21" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: open
Bodice: 17" from top of bodice to waist
Skirt: 29" from waist to hem

Modern Sizing Equivalent: XS-LRG

Item# DD3465

Reference Photo: (1) Spring 2016 Vetements Runway, Look 17.  /  (2) Vetements Outfits Photographed by Inez + Vinoodh, Vogue, March 2016.

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 love finding Donald Brooks pieces, they are very well made and his Boutique pieces especially have a sense of fun and wit about them that I love. Brooks launched his main line label in 1964. He only designed for a very short time, closing his business in 1973. He had a secondary, boutique line that he started in 1971 that also closed in 1973. This dress is from the boutique line which gives us that small time period from 1971-1973 for its date.

A cropped skirt and top set really showcases what the early seventies flower power hippie movement was. This set is especially fun with its feeling that it could be fully reversible between the red bandana waffle weave cotton print on the exterior and that contrasting black and white dot print inside. The way the zipper and hooks are set make so that it is only wearable the way that you see it, but, it is finished well enough inside that if the fastening were done a different way it could be worn inside out. Which is a testament to the quality of the outfit. The top is a simple bikini halter type top and it is cut to be fitted to the bust with a hook at the back and ties at the back. Its short length shows off a taut, tanned stomach. The skirt is long and sleek feeling with a decorative tie at the front waist that exactly mirrors the tie at the back of the neck on the halter. I love the two super high slits at the front that allow almost the full leg to show when you move. On both pieces that pop of the black and white dot against the red floral print is just amazing. Excellent condition

Both the top and skirt are lined in the dotted cotton that you see. The top closes with a hook at the back and ties at the back neck. The pants zippers to close with flat hook & eye at the waist.

Top
Cups: should fit a B-C cut
Bottom strap: 15" flat across the back from side seam to side seam
Total length: approx 13" from neck to bottom strap and you can tie to adjust

Skirt
Waist: 14.5" from side seam to side seam
Hips: to 20.5" flat across the back from side seam to side seam
Total length: 40" from waist seam to hem
Slits: 27" from hem up

Modern Sizing equivalent: SML-MED

Item# DD3464

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

Victor Costa launched his label in 1974 and was known for producing his own versions of what was seen on the Paris runways. He chose good fabrics and his designs were often very close interpretations of other designs but with his own unique twist when it came to colors, cut and fabrics.

This dress is striking with its stark red and black striping. It is definitely a dress for someone who wants all eye on her. Personally I love the bold mix of the red and black and the use of satin as his fabric choice just makes it better. It gives the dress the most amazing finish. The bodice is fitted and strapless and cut to curve around the bust. The waist nips in and the hips are emphasized by that wonderful attached peplum just below the waist seam. It also has its original tie belt in a matching fabric that allows you to cinch the waist in further. The skirt falls to the floor from there and there is quite a lot of fullness and volume created by the addition of an attached tulle underskirt inside. It falls to the floor in a gently widening curve. The fabric has just a touch of weight to it so helps to hold the shape. I love how the stripes are set on both horizontal and vertical lines to highlight and emphasize the different parts of the cut of the dress. It is really incredibly. Excellent condition

Fully lined in a black silky rayon and the skirt has an attached later of tulle to help hold its shape. The bodice is fully lined and lightly boned.  The dress closes with a back zipper. Original matching fabric tie belt. It appears to have never been worn or worn very little

Bust: 16.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 10" from shoulder to waist
Skirt: 43" from waist to hem with 3" turned under the hem

Modern Sizing Equivalent: XS-SML

Item# DD3458

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

Victor Costa launched his label in 1974 and was known for producing versions of what was seen on the Paris runways. This dress for example is a version of what Yves Saint Laurent was doing in this time frame. Costa chose good fabrics for his designs and even though his work was often very close interpretations of other designs he did add his own unique twist when it came to colors, cut and fabrics.

This is one of my personal favorites of the Victor Costa pieces I have had come into the shop and the fact that it is a play on the work of YSL plays a part in that. It is well made and really great value for your dollar. He has chosen to use a silk taffeta for the dress and this choice gives it just enough weight and structure to be able to create the impressive lines and volume that you see but without making the dress heavy or bulky to wear. It also gives the dress the most amazing slightly iridescent finish. The bodice is fitted and strapless and cut to curve and shape the bust. Circling around the top portion of the bust is an elaborate ruffled finish that is made of two panels of taffeta. The waist nips in and it has its original tie belt in a matching fabric that allows you to cinch the waist in further. The skirt falls to the floor from there and has yards of fabric in it that create the fullness and volume that you see. The skirt falls in a gently widening line and is finished by a pleated ruffled that goes all the way around the hem. I love everything about the dress and how the ruffles are used to emphasize the romantic feel of the dress. It is really incredible. Excellent condition

Fully lined in a the same fabric through the bodice and the skirt is unlined. The bodice is lightly boned and shaped with stiffening fabric. The dress closes with a back zipper. Original matching fabric tie belt. It appears to have never been worn or worn very little. The color in person has a slightly more purple tone to it then how it photoed. It is even better in person.

Bust: 16" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: open
Bodice: 10" from top of bodice ruffles to waist
Skirt: 43" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3460

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

For the April issue of Vogue in 1973, Lauren Hutton was photographed in a similar jersey dress by Bill Blass. The one that she wore was done in a black rather then the red that this one is. By 1973, Blass was only three years into running his own company after buying Maurice Rentner Ltd in 1970 and re-labelling it under his own name, making this a wonderful example of his earlier work

The choice of a silk jersey gives the dress a wonderful drape. It also keeps it remarkably light in weight so it is very comfortable to wear once it is on the body. There is a definitive Grecian feel to it created by the addition of that long piped tie. The ties are made from the same fabric as the dress and are meant to be wrapped around the upper body and waist. They are long enough that you could extend that down and over the hips if you wished. The neckline is high and the bodice is seamed horizontally so that you don't get any bunching of the fabric when you tie the ties over it. The waist is defined by a seam and the skirt flows to the floor in a cascade of jersey. I love the sleeves in particular. Each is cut extra long and with a tremendous fullness at the cuff. This gives them a bit of an Old Hollywood feel. It will fully zip up at the back - it is just a little small on my dress form. Excellent condition overall with one small note to review below.

Unlined and closes with a back set zipper. The waist stay inside the waist closes with hook & eye. Elastic at the end of each cuff. The ties can be tied as you wish. There is a faint watermark at the hem and it has photoed darker then it is in real life. Once on this does not detract at all. Hand finished, rolled edges. The red has a slightly more blue undertone in person. The fabric has stretch but the waist measurement is firm

Sleeves: 28"
Shoulders: 15"
Bust: 16-18" flat across from side seam to side seam
Waist:  to 12.5" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Bodice: 16" from top of bodice to waist
Skirt: 41" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2991

Reference Photo: Lauren Hutton in Bill Blass. Photo by Richard Avedon. Vogue US, April 1973.

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 to it 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.Every piece I bring into the shop is very special and I love this one especially as it truly shows the range of his work.

Gibb had a great fondness for history and exploring the far corners of the earth for inspiration. This set has obvious Asian roots with the fabric choice but he has taken the lines and extended and manipulated them to make a new silhouette. I also love how he has combined the Cherry blossoms with Roses on the woven fabric to further emphasize his respectfully combing cultures. The set consists of two pieces. A very long, slim cut skirt and the more voluminous jacket that sits over it. The skirt is very slim and cut in a very linear line from the hip. It has very high slits running up each leg that allow you to walk in it. It is very fitted around the hips and meant to fall in a long straight line. Over this is a more generously cut jacket. The jacket has no front closures and simply slips on. I love how the top of the collar is set so that it kind of flares open at the very top of the neck and how the shoulder seams are set into the neck in a straight line which creates an interesting angle there. The sleeves are long and straight cut and again you have those long lines created. The fabric is a beautiful bright red silk satin with little cherry blossoms woven through it. This runs over both pieces from the top of the shoulders to the hem of the skirt. All of the seams are finished with a flat black fabric that anchors both pieces perfectly.  This is a rare and absolutely amazing set that is even better in person and falls far far better on a real body then on my dress form. Excellent condition with a minor note below

Both pieces are fully lined in a red silk. The skirt closes with a metal and nylon zipper. The jacket has no closures. Note that it was a bit tiny on my dress form and will fall even better on the proper sized girl. There is a tiny touch of foxing on the back of the skirt and a tiny pen mark on the jacket. Please review the two photos after the label shot. Tagged a vintage UK 8

Jacket
Sleeves: 24.5
Shoulders: 15" across
Bust: to 16" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 19.5" flat across from side seam to side seam
Length: 13" from neck to hem

Skirt
Waist: 11" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 43" from neck to hem
Slits up both sides: 20" from hem up

Modern Sizing Equivalent: XXS-XS

Item# DD3436

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

This gorgeous dress from the last years of Marc Bohan's grand career as head of Dior is from the Fall 1980 collection. In the book Dior; Catwalk, the notes on the fall collection state that the collection notes read that; "Bohan was inspired by 'Baroque fancies and pre-Raphaelite chinoiserie'." and that "the designer created 'sinuous and subble bias cut evening dresses pleated 'a la Fortuny". This dress has the added provenance of having been photoed on Michelle Monaghan before it was released from my archives.

This two piece dress from that Haute Couture collection has that pleating technique use in its constructed as mentioned above and it is very beautiful. The inner dress is a fine, almost weightless silk chiffon with a simple double layer of silk chiffon that has been used to create the bodice that skims over the torso. The waist of this inner piece is cut loose and easy for comfort. The skirt has an extraordinary three full layers of silk, layered over each other. The outer exterior layer is finely pleated in a series of perfectly done, 1/8th of an inch pleats, that circle all the way around. The edges are finished with tiniest of stitches that have all been done meticulously by hand. All of the interior work is by hand as well. Lying over this is a loose tunic feeling overlay that is made out of a fine, silk chiffon. Worked into the silk are hundreds of dots made from a feather soft silk velvet that has been fused to the base fabric. The sleeves are full and cut so that the widen out quite a bit as they near the ends. They are unlined so that you get a touch of transparency to them and the dot pattern is really highlighted. They each end in an angled V shape that pick up that same angular shaped panel that drapes down from the neckline. The neck is cut high and again this part is left unlined for just a glimpse of skin underneath. At the back is a large bow that snaps into place so that you can wear it on or off. I have shown this worn to the back but this set is so well made that you could easily turn it around and wear it to the front I think. The versatility of the two pieces is wonderful, you can wear them together or break them up and mix with other pieces. The tunic would look as equally chic over a slim black trouser and you can combine the inner piece with a sweater or other top. The tunic is just ling enough to wear on its own if you dare. Excellent condition with a minor note to review below

The inner dress is composed of two layers that are hand sewn together through the bodice and three silk layers through the skirt. It closes with a hand set side zipper with hidden snaps to cover the fabric over the zipper below the waist. There is a button at the back of the neck and an inner waist stay that hooks to close. The tunic slips on the wear with three hook & eye at the back of the neck. Lightly padded shoulders and the bow snaps into place. There has been some softening to the pleating of the skirt near the bottom. It would be possible to iron them back in with care.

Tunic
Sleeves: 25" to longest points
Shoulders: 16"
Bust: to 24" flat across from side seam to side seam
Waist-hips: open
Length: 39" from neck to longest point of hem

Under Dress
Bust: 19" 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: 15" from top of bodice to waist
Skirt: 42" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD1717

Reference Photos: (1) Michelle Monaghan for Rhapsody Magazine by Jane + Jane (Boondock Agency). Stylist: Amanda Lee Shirreffs, Makeup: Ann Pala, Hair: Anne Morgan, Manicurist: Leanne Colley. Click here to see this entire shoot in our lookbooks >  /  (2) Cherie, Owner of Shrimpton Couture.

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

The Lillie Rubin label was actually a chain of boutiques that sold mainly evening wear and carried other labels as well. Pieces often had both the Lillie Rubin shop label and the designer label. This dress has only its Lillie Rubin label but I have always wondered if it was perhaps a Halston. I have never been able to verify that. If it is not I think it was definitely inspired by the tie dye work that Halston was doing during this time period. I added a reference photo of a verified Halston tie dye caftan that was done in a similar color way to this dress. If this dress could be verified as one of his pieces then this is extremely good value for the person who buys it.

This dress is gorgeous. It is made out a light silk crepe that has been tie dyed for the prettiest effect. At the front two wide triangle panels are set into the low waist so that the cross over for coverage at the front and then tie behind the neck with skinny little silk straps. This leaves the back almost completely bare and it plunges right to the waist seam. The skirt flows to the floor under that in a double layer of the same silk. The waist is dropped and has elastic through it for an easy fit. It comes with a cleverly cut looped shawl piece that you can slip your arms though and it is sort of like a soft, loose half jacket. You could style this a number of ways. It is very pretty and an amazing set. Excellent condition

The bodice is unlined and slightly transparent, the skirt is a double layer of the fabric. It slips on the wear with elastic though the waist that is loose and easy set. The shawl has no closures, will fit any size and slip on

Bust: approx 17" across the front with open sides
Waist: 15-17" flat across from side seam to side seam
Hips: open
Bodice: approx 19" from neck to dropped elastic waist
Skirt: 42" from dropped waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3310

Reference Photo: Halston Caftan.

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 lovely Rochas dress still has its tags attached and is that perfect dress for when you want full impact mixed with a touch of feminine prettiness. It is made of a silk crepe de chine in a beautiful shade of red. This fabric choice gives it lightness but allows it to drape over the body and have a pretty flow to it. It is suspended from the shoulder by tiny little silk straps that meet the bodice at the front and cross over and hold the low dip at the back. There is a little gather at the bust and the seam curves up to meet that for a pretty line. The dress flows out from there to the floor, gradually widening as it goes. At the back, it dips very low and then again flows to the floor. This leave the upper part of you more bare but is very flattering in the way it skims over the body under that. Below this is a double row of ruffles made from the same fabric. I love that this gives a nod to the historical bustle but in a very fresh and modern way. It is cut super model long and the lightness of the silk gives it beautiful movement. Excellent condition with a note below

Unlined and closes with a hidden set zipper at the side. There is a smudge near the seam on one side of the bust and some grubbiness along the hem at the front mainly. It was new with tags so was not cleaned and I am sure these will come out for be so faint it won't matter. In person, the color is a little more a muted red then how it photoed. Tagged a modern 40

Bust: approx 15 " flat across the front with open sides
Under bust: 16" flat across from side seam to side seam
Natural waist: approx 17" flat across from side seam to side seam
Hips: open
Length: 65" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3309

Reference Photos: Cherie, Owner of Shrimpton Couture. (Email us for information on the cape!)

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

Ruben Panis was known for his flair for drama. He started off his career designing costumes for showgirls in Las Vegas and eventually honed his skills by working for both James Galanos and Norman Norell. His gowns were worn by many Hollywood icons like Elizabeth Taylor, Zsa Zsa Gabor. At the height of his career he was charging up to $5000 for a dress which at the time was an exorbitant amount. This is an excellent example of his work and very well made.

The dress is made out of a beautiful silk jersey that has been dyed to a clear, bright red. The way it is cut is very forties in feel with a bit of that old Hollywood charm. The bust is gathered in soft horizontal drapes that run from the top of the bodice to the top of the hip. Inside it is lightly boned. This gives it structure as well as creating a beautiful curving line that accentuates the body underneath. Running up and around the neck is a tiny strap made of the same jersey. This strap hooks into place at one side and you have the option of tucking it in and wearing the dress as a strapless piece. The skirt falls to the floor under that and the jersey gives it lots of swing and movement. To finish the dress, Panis added a little drama with elaborate beading that runs on each side of the dress. A large abstract flower with dangling bead in its center sits on each side. The petals are ling and curved. The effect is wonderful. Excellent condition.

The bodice is lined in a red silky rayon and the skirt has an inner lining made of the same jersey fabric. It closes with a back, painted metal zipper and the strap hooks at one end. Light boning through the bodice and hand finishes.

Bust: 16.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Inner hips: to 19" flat across from side seam to side seam
Bodice: approx 15" from top of neck to natural waist, 20" to bottom of the draping
Skirt: approx 42" from natural waist

Modern Sizing Equivalent: XS-SML

Item# DD3304

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 beautiful coat with very fine workmanship and beautiful construction. The deep red of it is very striking and the cut is simple and sleek. It is made from a fine red silk that has golden thread woven through it. These bits of gold are done in a beautiful floral and leaf pattern that is densely done so from afar they almost appear to be solid contrasting panels. As you get closer you start to see detail after detail. The cut is wonderfully simple. The sleeves end just above the wrist. I have shown the sleeves at their full length but there is actually a full panel of the gold in the inside sleeve. You could wear this with the sleeves ends turned over for a shorter sleeve and even more gold showing. There is no collar or visible closures on the coat, rather it closes with three simple hook & eye down the front and that panel of gold follows the front edging and then runs all the way around the hem in a thick panel. The simple line this creates keeps the line from any distraction and highlights that stunning fabric that makes this coat truly special. It's label tells us that is was a custom tailored piece that would have been specialty made and/ordered out of Hong Kong, who were doing some of the best silks and tailored pieces in the world during this time period. Excellent condition

Fully lined in a very fine red silk with quilting details and it closes with three hook & eye spaced down the front. The easy cut will allow it to fit a variety of sizes

Shoulders: no defined seams
Sleeves: approx 21" with the cuffs turned down
Bust: 21" flat across the back from side seam to side seam
Waist: 22" flat across the back from side to side
Hips: 22" flat across the back from side to side
Length: 39.5" from neck to hem

Modern Sizing equivalent: XS-MED

Item# C521

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 red, full length, silk jersey dress is from Karl Lagerfeld's own label. He launched his self-named label in 1984 and this dress would be from the earlier period of that line. It is made from a silk jersey in a deep red and has an easy to wear cut that give you a long and lean line. The skirt falls to the floor from a slightly dropped waist. The jersey gives it a column feel when you are standing still, but once you move, you realize that there is quite a bit of fabric there. At the front the skirt curves slightly up for a pretty and feminine touch. It skims over the hips and the dropped waist is flattering as it brings the eye down rather then draw attention to the waist line. The sleeves are cut slim and long with a gathered detail at each cuff and hidden set zippers to allow them to fit close to the wrist. The bodice is cut long to past the waist. The fabric that runs along one side of the bodice is gathered in soft folds. At the back it closes with a long series of tightly spaced fabric covered buttons. It comes with a matching, wide cut jersey sash that is very long. This will allow you to use it in several ways - wrap low on the hip as shown, use it around the waist or neck, or even wear as a turban. It really showcases Karl's genius with fabric and cut and is a wonderful example of his earlier work. Excellent condition with two small notes to review below.

Unlined except for the front bodice panel which is lined in a red silk. It closes at the back with buttons as shown. The fabric does have some stretch and is cut on the bias. There is a teeny tiny repair near the top button at the back and there is one tiny spot on the front just above the seam. Tagged a vintage 40 and the fabric does have some stretch

Sleeves: 26"
Slight dropped shoulders: 16"
Bust: 17-20" flat across from side seam to side seam
Natural waist: 14-18" flat across from side seam to side seam
Seam above hips: 17.5" flat across from side seam to side seam
Hips under seam: open
Bodice: 21" from shoulder to dropped seam above hip
Skirt: 39" dropped seam above hip to the back hem and the front skirt comes up slightly at the center

Sash: 93" x 20"

Modern Sizing Equivalent: MED-LRG

Item# DD2137

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 an extraordinary top. It is a stunning sequin and bead top that is entirely hand finished and in perfect condition. The sequin and bead work are all set onto a jersey base which is very unusual. It is constructed in the manner of a couture piece with the part of the top that is meant to tuck into your pant or skirt left bare. This allows you to tuck and secure the top so its sits perfectly in place when it is on but doesn't ruin the sequin work where it would be all folded and held. Newer pieces would never do this any more as its extra fabric used whose only purpose it to get the perfect fit. The entire top above that is densely covered in vertically places, overlapping deep red sequins, each tightly spaced for full coverage. These are applied onto the jersey so that the cover every inch of the top. This gives it a good weight but once on this weight is perfectly distributed over your torso. Heavy bead work details the neckline and all down that low dipping V at the back. More beads have been hand applies to detail each cuff for the perfect finish. It is very chic and very glamorous. I love it. Excellent condition.

Fully lined in a red silk and closes at the back with metal and nylon zipper. Light padding in each shoulder. Hand finished. It appears to have been worn very little, if at all

Sleeves: 21"
Shoulders: 15.5"
Bust: 19" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Length: 20" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# S885

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 love this Yves Saint Laurent piece. I just had a blue version of this in the shop and I was thrilled to have a red one come into my hands so quickly after that one. The color of the red sequins is amazing and every square inch of the piece is finished with them. The neckline is slightly scooped and set wide across the neck which allows for a little bit of skin to show on the top of your shoulders. The shoulders are set to feel slightly slouchy and that easy feel carries through the body of the top. It almost feels like some kind of a glam sweatshirt in the way that it sits once on. The sleeves fall to just below the elbows and the body of the tunic dress is cut to skim over the body in an easy, relaxed way. The front is cut a touch shorter then the back. The sequins are a brilliant true red and in person the color is even better then how it photoed. I love the detailing around the cuff of each sleeve and the bottom hem. It creates the impression of a ribbed sweater but this is all actually done with hand placed tube beads and sequins running in horizontal rows. Excellent condition

Fully lined in a red silk chiffon and slips on to wear with no closures.

Sleeves: 17.5"
Slightly dropped shoulders: 15"
Bust: 17" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 21" from shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# S884

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

Gorgeous and absolutely huge, this Yves Saint Laurent plaid scarf from the late 1970s, early 1980s is a mix of a deep and bright reds with deep blues that are overlaid with shots of metallic blue, red and gold thread. The plaid is surrounded by an intricate paisley printed double border that is also overlaid with this same gold and blue metallic highlights and then the center goes back to the red plaid. The addition of the metallic thread gives the entire scarf a subtle shine that is gorgeous in real life. It is made of a fine silk and wool mix that is extremely light and pliable - it is the same weight and feel as a fine Hermes piece. Hand fringed edges. It is super light weight despite its size. This will allow you to wear it for many purposes, as a scarf, a shawl, a sarong, a head wrap, or anything else you can dream up style wise.

The YSL logo is screened directly onto the fabric and it is tagged. It is freshly cleaned and it looks to have been worn very little if at all.

Measures 54" x 54"

Item# A363

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

Gorgeous and absolutely huge, this Yves Saint Laurent plaid scarf from the late 1970s, early 1980s is a mix of a red and yellow that is overlaid with shots of metallic red and gold thread. The plaid is mixed with an intricate paisley printed inner border that is also overlaid with this same gold and blue metallic highlights and then the center goes back to the yellow plaid. The addition of the metallic thread gives the entire scarf a subtle shine that is gorgeous in real life. It is made of a fine silk and wool mix that is extremely light and pliable - it is the same weight and feel as a fine Hermes piece. Hand fringed edges. It is super light weight despite its size. This will allow you to wear it for many purposes, as a scarf, a shawl, a sarong, a head wrap, or anything else you can dream up style wise.

The YSL logo is screened directly onto the fabric and it is tagged. It is freshly cleaned and it looks to have been worn very little if at all.

Measures 53" x 54"

Item# A361

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 gorgeous and absolutely huge Yves Saint Laurent silk scarf from the late 1970s, early 1980s that mixes a pretty and bright red rose design on an ivory silk. The print also has pops of green and taupe to highlight the design. I love the fine fringe edging to the scarf that adds a pretty and feminine finish. It is made of a fine silk that is extremely light and pliable - it is the same weight and feel as a fine Hermes piece. It is super light weight despite its size. This will allow you to wear it for many purposes, as a scarf, a shawl, a sarong, a head wrap, or anything else you can dream up style wise.

The YSL logo is screened directly onto the silk. There is one small pinhead mark and a small stain. It has been priced slightly less then its counterparts as a result.  Please review the two photos after the photo of the label. It is freshly cleaned and it looks to have been worn very little if at all other then the two areas noted.

Measures 53" x 53"

Item# A360

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 Western world in the twenties to fifties had a special fascination with the far Eastand this highly influenced the fashion of that time period. Japan and China especially began to export and sell pieces made specifically for the tourist market that combined classic design elements of the respective cultures with a slight western twist to the cut and colors. You often will see the shorter jackets come up for sale but the coats are a little harder to find and far more versatile in my opinion. These were the most prized both then and now. This one is stunning and done in a high grade, fine red silk with off white detailing to contrast the cuffs, collar, front and hem. Over this is is embroidered with absolutely brilliant colors. The floral pattern in its soft pastel tones and the overall design are exquisite. Its lovely and light so easy to wear. This one is not 100% perfect but still has lots of life left to it if you don't mind wearing vintage with a flaw or two. Presents as excellent condition at first glance but does have flaws as noted below.

Fully lined in red tissue silk, it closes with frog knots at the front. In person it is a more vibrant red with a slight cherry cast to it. There is a dark mark at the front and the fabric has thinned, I see grubbiness and spots to the cuffs, fraying along the side slits, on one arm and some small interior fraying and shattering. I have photoed all the areas and these photos can be seen after the label shot. It is in fabulous shape other then these areas. Priced accordingly. The loose cut should fit a range of sizes. This is sold in as found condition and as a final sale.

50" from the end of one sleeve to the other flat across
Bust: 21" flat across from side seam to side seam
Waist: 22" flat across from side seam to side seam
Hips: 24" flat across from side seam to side seam
Length: 43" from neck to hem

Modern Sizing Equivalent: XS-LRG

Item# C514

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 beautiful red silk chiffon dress by Bill Blass is absolutely stunning. It is also beautifully made and the closer you start to look at it the more you start to see the fine detailing on it. The work that would have gone into piecing this together with that weightless and fine silk chiffon is astounding. It is completely cut on the bias but also has defined seams so that you get the ease and movement of the bias cut through the skirt but with a slightly more fitted feel through the bodice. It slides over the body to define your curves but not in a tight or overtly fitted kind of way. The neckline is scooped and finished with a soft ruffle that ties in with the other ruffled parts of the dress. Each sleeve is capped and finished with that same ruffle. The bodice sits over an interior halter made of silk and this gives you a play on the transparency. The back buttons to close with a series of silk covered buttons. A piped tie of the same silk gives the waist a touch of added definition and below that the skirt falls to the floor in a cascade of ruffles. The skirt is made up of three tiers and each curves and scoops upwards at the front. This leave a bit of a slit under the ruffles. It also gives the ruffles a pretty cascading effect down the front. The ruffles circle all the way around the skirt on each tier and this gives a pretty detailing from the back view as well. Once on you feel like the silk is just floating around and over you and it is almost like wearing nothing at all. It is truly beautiful. Excellent condition

Fully lined in a second interior built in layer of the same, fine red silk chiffon as the exterior layer. It closes with a hidden back zipper and then the the buttons close over that. All hand finished. The color is absolutely fantastic - that perfect clear cherry red that flatters most skin tones. It is a touch more brighter, clearer red in person then how it photoed. It will drape to fit and the fabric does have some give due to the bias cut. Comes with its original piped tie belt made of the same silk

Shoulders: 13.5"
Interior bust: to 17" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of shoulder to waist
Skirt: to 40" from waist to back hem

Modern Sizing equivalent: XS-SML

Item# DD3201

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 Ossie dress features a mix of two of Celia Birtwell's prints. A pretty floral design is mixed with her iconic pineapple print that runs over the entire dress. Both are screened onto a crepe chiffon, a fabric choice that holds the color exceptionally well so it still feels crisp. In the book 'Celia Birtwell', Ceila notes that the pineapple print was: "influenced by '30s day dresses. I like ladylike, small prints, ones worn by women of a certain age." The influence of the thirties is also evident in the cut of the dress. It is cut on the bias and this give the fabric the room to move and drape as Ossie wished. When it is on the body the bias cut gives the dress movement and allows it to move with you. The skirt is constructed from two tiers of fabric that are layered over each other. Each tier flares out to give it a swing feel. I love the contrast of the prints together too. The dress skims up and over the waist, ending at a high set triangle of the opposite print that anchors the plunging bodice. Each shoulder has a keyhole of bare skin exposed with a tie at the top of the shoulder. Adjusting these ties allows you to decide how low on the shoulder it will sit. The back is left entirely open along a long slit that simply ties to close in two places. Excellent condition with one small note to review below.

The inner skirt acts as the lining there and the cups of the bodice are lined in a red silky rayon. It slips on to wear and closes with ties at the shoulders and two more at the back. There are some small tears to the lining of the bodice that do not go through to the exterior. I have photoed the area. All are stable and you see nothing once on. Tagged a vintage Ossie UK 14

Sleeves: approx 15"
Shoulders: no defined seams
Bust: 17-18" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Hips: open
Bodice: 11" from neck to waist
Skirt: 32" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD1315

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 exceptional dress is by Marc Bohan for Christian Dior and it is a wonderful example of his work during this time period. It is not perfect but I believe its flaws could be reinforced. Please make sure to read the entire description and review the provided photos before purchasing. Its an exceptional piece and offered at a dramatically discounted price as a result of its small flaws.

It was in the late 1960s that Bohan was doing these wonderful metallic detailed dresses for Dior and the results were stupendous. The red silk chiffon base is as light as a feather and there are literally yards and yards of fabric used to make this dress. Woven through the silk is a winding flower and vine design that is entirely made form a gold lurex thread which gives the dress its metallic finish. The gold is used from neck to hem and catches the light as you move. The neckline is high and the bodice is set above a empire waist that is detailed with a wide red silk ribbon that is attached and hooks to close at the back. This is balanced by long sleeves that has a bit of volume to it above the cuffs. The skirt is fabulous and has a tremendous amount of fabric it, falling to the floor from under the red ribbon. It also has a extremely large shawl scarf piece that is made form the same fabric and I think you could easily use some of the fabric from that to reinforce the flaws. The flaws are as follows. There is stress and small tears to the fabric at the seams under each arm and near the seams. I see some very small starts of this near the seam of the top of the shoulder. There are a couple of large areas on the fabric of the skirt that also show small tears and weakening. Please review all photos provided that are shown after the label shot and read any extra details concerning condition below. Otherwise it is in great condition and presents very well

The skirt is fully lined in a red silk with the sleeves left unlined. It closes with a back painted metal & nylon zipper and hook & eye just above the zipper of the low back. The ribbon belt hooks to close. Each sleeve buttons to close and one button is missing. Hand finishes. Please read above concerning weak areas of the fabric. There may be additional teeny tiny areas I missed. The scarf could be used to reinforce the weak areas or even to recreate and replace them as it is huge. This would easily be priced for $3500 if perfect so is a tremendous bargain for the person willing to put in a little work on it. It is sold as a final sale

Sleeves: 25"
Shoulders: 14.5"
Bust: 17.5" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Hips: 22" flat across from side seam to side seam of inner lining
Bodice: 11" from top of bodice to waist
Skirt: 43" from waist to hem

Shawl: 94" x 43"

Modern Sizing Equivalent: XS-SML

Item# DD3151

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 love the stark lines of this Geoffrey Beene dress and the contrast between the deep burgundy panels and the deeper cream parts of the dress. The two colors are set so that they become an integral part of the design and add both interest and length as the eye is pulled from the neck to the floor. The neck is high in a modified turtleneck that has a more sleek then slouched feel. The sleeves are long and lean and the bodice skims over the bust into the seamed waist where it softly, and just slightly, poufs over the seam there. The skirt flares out in a widening line from the waist to fall to the floor. The back is all the one burgundy color but the front has inset jersey panels done in a soft taupe cream color. These swoop down in a V on the top and are set as an inset panel of fabric in the skirt. This helps to add to the volume of the skirt and creates an interesting visual effect. The way it closes is fascinating with three different zippers layered and placed so that no bulk is created but that each element of the dress stays perfectly in place. Excellent condition

The top is lined with a inner taupe layer of the jersey and the skirt is unlined. It closes with three zippers, one that closes the inner jersey lining, a second long on that runs from the outside neck down inside the skirt and the last on the outer skirt. A zipper is also set at the end of each sleeve. The fabric has some stretch but the waist measurement is set and will not stretch further

Sleeves: 24"
Shoulders: 14.5"
Bust: 16-18" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of bodice to waist
Skirt: 44" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3141

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

Sybil Connolly was based in Dublin and her first major fashion show as a designer in her own right was in 1953 and quickly became a darling of the American market. Jacqueline Kennedy wore  Connolly for her official White House portrait and Connolly was a particular favorite of Carmen Snow, the editor of Harper's Bazaar. In 1957 she launched her couture label. She created Haute Couture pieces made from Irish textiles and in particular she became famous for her distinctive use of  pleated handkerchief linen. This excerpt from the FDIM Museum explains Sybil Connolly's techniques:

"Sybil Connolly's trademark gowns required a tremendous amount of fabric. To construct one pleated evening dress required between 72 and 90 yards of Irish handkerchief linen. After undergoing a secret pleating process, this initial yardage became 7 to 10 yards of slightly irregular, narrow linen pleats. Like the early 20th century designer Mario Fortuny, Sybil Connolly was very protective of her pleating process, swearing that it was a secret she would "carry to the grave." In her designs, Connolly usually oriented the pleats horizontally, covering the seams with self-fabric cording. The cords also lengthen the overall line of the garment, providing a counterbalance to the horizontal pleats. As Connolly tended towards solid colors, the stiff cording also provides a necessary visual contrast to the soft linen pleats."

Connolly was named the 'Dior of Dublin' by the press and rightly so. This dress is not 100% perfect but still a stunning example of the pleating techniques as described above. This best matched the sketch of the dress that Connolly named the 'Non-Chalance'. I found a sketch of it within the permanent collection of the Hunt Museum in Ireland and there is also a similar gown held in the collection of the Irish Linen Centre & Lisburn Museum. Sybil worked directly with the cloth when she did her design work and rarely did any preliminary sketches so it is a pleasure to have found one to reference. I found a quote that referred to the Irish linen she used to be 'of a quality so fine it was almost chiffon-like in weight' and that’s description is very accurate. This dress has a very formal feel to it that is heightened by that strong red color that the linen has been dyed to. The elaborately layered cuffs are a made from the same fabric but here the pleats are more a traditional tiny pleat and they are set vertically, rather then the horizontal pleating of the dress. They are dramatic and very full with their two layers stacked on top of each other. They add a touch of romance and whimsy to the dress and give it a lovely movement when you move your arms. This same treatment circles the hem as well and adds a touch of a flounce to the other wise structured skirt. The dress is otherwise kept to simple lines so that the pleating technique takes center stage. The bodice is fitted, with a slightly scooped neckline. The waist cinches in for shape and then the skirt billows out to a beautiful strong line that allows the many yard of fabric used to take full center stage. Soft gathers at each side of the hip and around the back create more volume. It is wonderful and rare example of her work. The gown presents as excellent condition at first glance but does have some condition notes below to review.

The dress is fully lined in a matching red hand set silk and closes with a back painted metal zipper. The hand work done can clearly be seen throughout the interior. I see some shattering to the silk around each arm but other wise the inner silk appears to be strong and stable. The small amount of shattering does not affect the exterior at all. There are areas of darkening/discoloration to the fabric present. I see an area on the front skirt under the waist. A smudge on the piping edge of one sleeve and a darkening to an area on the front bust. One small smudge on the back of the skirt about half way down. Inside, there is a tiny bit of fading to the seam under the arm and the inside neck. There is a tiny repair to the base of the arm seam on each side. The dress is strong and stable otherwise. The discoloration ranges from a subtle darkening to a deep darkening of the fabric as photoed. You could easily get away with wearing it as is if you don't mind a piece that is not perfect. Please review the photos shown after the label photo. It is cut slightly narrow through the shoulders.

Shoulders: approx 14" but no true seam
Sleeves: approx 18"
Bust: 17-18" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: open
Bodice: 16" from top of shoulder to waist
Skirt: 44" from waist to front hem and 46" to the back hem

Modern Sizing Equivalent: XS-SML

Item# DD3137

Reference Photos:  (1-2) Sybil Connolly Design Sketches from The Hunt Museum.  /  (3) An original Sybil Connolly creation. Copyright Irish Linen Centre & Lisburn Museum.  /  (4) Portrait of Jacqueline Kennedy by Aaron A. Shikler. Oil on canvas, 47 x 31 inches, executed between 1968-1995, from a Private Collection, courtesy Davis & Langdale Company, Inc., New York.  /  (5) Cherie, Owner of Shrimpton Couture, by Erin Leydon.

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