This might be one of the cutest dresses that Yves ever did and the print is of course an homage to his own French Bulldogs that he loved so much. Its twin walked the runway and was styled with a wide leather belt to really play on the proportions and cinch in the waist. It is one of my all time favourites and I am very pleased to have this wonderful dress in the shop for you.

This is gorgeous little dress. On the hanger it looks like nothing tell me a pill is that fantastic print. But it's just hits the body his genius with cut comes to life. The top is meant to be full and easy over you. The upper bodice is yoked on the front and the back and it has light padding in the shoulders for structure. A row of glossy white buttons closes the partial opening at the back of the neck. The waist is seamed and it is meant to blouse over top of it. If you decide to add a belt like they did on the runway it will really emphasize the waist and the volume above even more. This skirt is cut to be slightly fuller around the hips and then narrows down slightly as it reaches the hem. I love the slash pocket sit on each hip. The sleeve incredible. They come out from the top of the shoulder where they're slightly gathered and they are cut to come out from just above the waist and narrow down to an elastic cuff. This makes them incredibly full and when you push the up to just past the elbow they are even fuller as you can see in the reference photos. It's just a beautiful little dress and perfectly represents this time period. Excellent condition with a small note below.

Unlined and closes with a side set zipper. Three buttons at the back of the neck to close the small opening there. Elastic in each cuff. There is the tiniest bit of yellowing to one of the bulldog prints at the neckline and I see a repair at the top of the side zipper. It is completely hidden once in by the volume of the sleeves. Please see the photos after the label shot. Tagged a vintage YSL 40. It's oversized cut should work on smaller frames too

Sleeves: 17" and will pouf up more when on
Extended shoulders: 18"
Bust: open with no true side seams
Waist: 13.5" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: 18" from top of bodice to waist and will pouf up when on
Skirt: 24.5" from waist to hem

Modern Sizing Equivalent: XS-MED

Item# DD4197

Reference Photos: Spring 1987 Yves Saint Laurent Runway.

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

This is one of my favorite pieces from the Spring 2015 Saint Laurent runway. At this point Hedi Slimane was the creative director since joining in 2012. He would depart in 2016 but at this point his future still seemed firm. The collection was short and sexy. Vogue's review of the show ended by saying "this collection straddled Slimane's worlds: L.A. groupies in Paris couture. You know he gets off on that idea. He's not the only one. The energy was contagious tonight. "I was having an orgasm," we overheard a model-slash-writer pronounce on her way out the door." The runway version was deeper cut at the front but that did not stop this version being seen everywhere after. We found multiple photos of being worn by the 'It' girls of the time and it still feels as fresh and sexy now as it did then. I love it.

This dress is so easy to wear and so flattering. It just slips on, zips at the back and drapes and falls into place. The front falls into a fairly deep V and then the fabric is gathered in towards the center at the base of that V. This gives you shape without being tight and fitted. Just Kim over you in the most flattering of ways and you can see by all of the added reference photos how gorgeous it is once on. From the waist that flares out into the swingy sexy flirty little skirt. The skirt is cut to be short and the fabric is so light that it feels a little scandalous when it's on the body but it does cover you. The sleeves have that classic slight balloon feel to them and pouf out of above their buttoned cuffs. The red is the perfect red that will flatter most skin tones and those white dots that cover the silk just make the dress feel joyful. It's that perfect mix between girl next door innocence and sexiness. It's one of my favourite dresses from the time that Hedi was the Creative Director. It looks to have been worn very little if at all. Excellent condition

Fully lined in a red silk and closes at thew back with a hidden set zipper. Each cuff buttons to close with silk covered buttons. Tagged a 42. Appears to have never been worn or worn very little

Sleeves: 23.5"
Shoulders: 15"
Bust: to 18" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 34" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4196

Reference Photos: (1) Spring 2015 Saint Laurent Runway, Look 28. Model: Kiki Willems.  /  (2) Anna Ewers, in Saint Laurent, by Norman Jean Roy for Harpers Bazaar, May 2015.  /  (3) Natalie Joos, in Saint Laurent, & Giovanna Battaglia at the Laure Heriard Dubreuil Pop Up Shop at the Ritz Paris, July 2016.  /  (4) Christina Aguilera in Saint Laurent, May 2015.  /  (5) Marie-Pier Morin in Saint Laurent for Loulou Magazine.

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

In 1968 Ossie Clark was designing his own couture line and also designing pieces for Alice Pollock for her Quorum Boutique. The Radley company approached Alice to find out of she could convince Ossie to design a top of the market collection that they would produce and sell to various boutiques and department stores. Dresses like this were the result of that collaboration. Even with this early version of 'ready to wear' the pieces that were made were still never produced in vast quantities and certainly nowhere near whet we think of today as RTW as far as quantities.  I have had black versions of this dress in the shop before and always love finding one of these. It is a classic Ossie design and one of Ossie's most famous and recognizable creations. A similar version in ivory is held in the Victorian and Albert Museum. Lily Sullivan also wore a version and you can see how it is transforms once on the body. Both of those fully button tot eh neck bit this one has a more V front and then has the buttons underneath that. I have included those shots here to give you an idea of just how fabulous the dress looks like on.

The design of this dress seems so simple when you see it on a hanger and yet it has that perfect flow and drape that he was known for. His signature sexuality that he worked into his pieces is displayed in that low front plunge that can be made even lower if you choose to wear it more unbuttoned. I love his pieces that button down the front. You feel covered, but he still somehow manages to make them feel extremely sexual. The buttons have been covered in the same red moss crepe as the dress is made from. They run from the bottom of the V neck, past the waist and down the top part of the skirt. The dress has it original matching fabric tie that wraps around and ties to give you some added shape and definition through the waist. The skirt flows from under there to cascade to the ground. It skims over the hips and then widens out quite a bit by the time it nears the hem. There is a wonderful amount of volume that flows around you when you move. I love that the back is cut slightly longer then the front. This is balanced out by full bishop cut sleeves that puff up above each moss crepe covered buttoned cuff. I own one of these myself and it will always be in my collection and I can tell you from personal experience that it is a dress that you will wear over and over. I absolutely love his red moss crate pieces. The colour is so good and it just makes a fantastic impact. This one is in wonderful condition to which isn't always the case with the red pieces. It easily goes from day to night and is sensational on the body. It is in its original uncut supermodel length which is hard to find with many Ossie pieces you now see out there for sale. Excellent condition with one small note below.

Unlined and slips over the head to wear with it original tie belt for around the waist. It buttons down the front. Each cuff has a fabric covered button at the wrist. There are two very light marks near the front center seam about 16" down from the final button. They are very light and where the skirt starts to get volume so not really seen when on but are visible when it is laid out flat. Please see the photo after the label shot. The red is a bit brighter then how it photoed. It is better in person. Tagged a vintage Ossie Clark UK 10

Sleeves: 28" but come up when cuffs are buttoned
Shoulders: 14.5"
Bust: to 18.5" flat across from side seam to side seam
Waist: 12-13" flat across from side seam to side seam and can be defined more by the tie belt
Hips: 16-18" flat across from side seam to side seam
Length: 61" from neck to front hem and 66" to the longest point of the back hem

Modern Sizing Equivalent: SML-LRG

Item# DD3692

Reference Photos: (1) 1969-1974 Ossie Clark Dress in the V&A Collection.  /  (2-4) Lily Sullivan at the Inaugural Museum of Applied Arts and Sciences (MAAS) Ball in Sydney, February 2018.

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

Mary McFadden patented her Fortuny inspired pleating technique just a couple of years after launching her label in 1973. By the eighties she had many licensing agreements and her dresses were being made on a larger scale. She called her pleated fabric 'marii' after her own name. She went around the world to source the fabric she wanted and her pieces need up being made out of a synthetic charmeuse that she sourced from Australia. The fabric was then sent to Japan to be hand-dyed and the pleating technique was done by a machine press in the United States. Mary was known to say frequently that there was no greater beauty than pleated cloth on the human body and she said then when she developed her 'marii' fabric her aim was to have it 'fall like liquid gold on the body, like Chinese silk.' This is from her higher end couture line that had a more limited production and sold at higher end shops. We also found a runway photo of it so that you can see just how specatular it is on.

This dress is made from McFadden's fabric in her signature pleating technique and is the twin of the dress that walked the runway that season. Like many of her best pieces the pleating gives it the comfort of a bias cut and it is very sexy while still feeling refined. The colour is a brilliant true red that is flattering on most skin tones. The lightness of the fabric lets the dress fall over you beautifully and skims over your body underneath to be very flattering. The neckline is scooped and set slightly wider across the shoulders. The sleeves are long and the pleating allows then to adjust to fit your arm. The bodice is cut to skim over you from the shoulder to the hip with one of her signature curving panel wrapping over the front and the back back waist to shoulder. It is made to give the illusion that the dress is wrapped around you. The skirt underneath falls to the floor in a column of pleat work. A longer skirt like this is not always seen in her later work. She preferred to design pieces that ended well above the ankle so you could see the shoe underneath so the longer pieces are a bit rarer and harder to find. The detailing on the one side of the waist is spectacular. There is a fanned ruffle of pleat work edged in gold that runs down either side of the hidden set side zipper there. Then on the front hip are two rolled flower like additions that are also made of the red pleats and edged with gold. These sit at the base of the front curved panel and add a stunning detail. No matter how good it is in the photos it is better in person and it is wonderful once on the body. It is beautiful example of her work. Excellent condition

Unlined and closes with a hidden set side zipper. Hand finishes. The easy cut and give of the fabric should allow it to fit a range of sizes. It looks to have been worn very little if at all. Padding in each shoulder. Tagged a vintage 10

Sleeves: 24.5" and the upper arm will expand to 22" around if needed and fit any size smaller then that
Shoulders: 14.5"
Bust: 17-19" flat across from side seam to side seam
Waist: 15-16" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Length: 60" from top of shoulder to hem

Modern Sizing Equivalent: MED-LRG

Item# DD4186

Reference Photo: Fall 1988 Mary McFadden Runway.

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

This exceptional dress is by Marc Bohan for Christian Dior and it is a wonderful example of his work during this time period. This best matches the work that he was doing from about 1969 to 1972 when he was doing these wonderful printed chiffon dresses. We found similar ones to this with variations on the print that this dress has and I have included them so that you can see how perfectly this will drape and fall on the body. I have had a dress with a similar print to this on the shop in the past from Fall 1970 which makes me even more certain that this one falls into that time period. It is a very easy and comfortable dress to wear but it also drop dead gorgeous. I feel that it perfectly represents this time period. His work was integral to the label's development over the decades that he headed the atelier and this is a stunning example of his vision. Beyond that it is just an extraordinarily beautiful dress. I have had this ion my archives for a long time and it is a beautiful piece.

This dress is incredible. I love this version even more then the ones we found for reference. The cut is extraordinary and those sleeves are pure magic. The dress is super light and very easy to wear. The outer layer of it is a fine silk chiffon that has an abstract dot print that covers the entire dress. The neckline is set high and is softly gathered to wrap around the neck. Under that the bodice is meant to skim over you to the seam that is set under the bust for a slight empire feel. It fall loose and easy over the natural waist and the skirt billows out from under that to the floor. It is lined through the body of the dress in a solid coloured burgundy silk to feel like heaven on the body. The sleeves are incredible. They are set into the shoulder with slight gathers along the upper shoulder for a subtle but very pretty detail. They are the full width from the should to that seam under the bust and this gives them incredible movement and drape over the arm. It is interesting to look at the dress from the interior because the inner bodice is almost like a bib shape and then the sleeves come out from the sides of that. Once on the body the entire dress has this stunning movement and yet feels minimalist and elegant. The fabric is so light that it will move with your slightest movement. I love the detailing of that wide band of the solid coloured chiffon that finishes each sleeve and the hem. It is very easy to wear but packs a tremendous amount of style with the that print combined with the lightness of the fabric and that cut. The tag is numbered and the dress made to demi-couture standards. It appears to have been worn very little if at all. Excellent condition

The dress is fully lined through the body in a deep burgundy silk chiffon. It closes with a back zipper. It appears to have been worn very little if at all. The tag is numbered and there is an additional hand numbered tag along an interior seam. Hand finishes throughout

Sleeves: 22" from shoulder to end and fall to 24" at their longest point
Shoulders: 15"
Bust: The inner lined bib covers to 13" across and then because of how the sleeves are set there are no true side seams
Seam under the bust: 15.5" flat across from side seam to side seam
Inner hips: to 22" flat across from side seam to side seam
Bodice: 11" from top of shoulder to seam under the bust
Skirt: 47" from seam under the bust and including the 2.5" band there to hem

Modern Sizing Equivalent: SML-MED

Item# DD4183

Reference Photos: (1) Model in Dior for British Vogue, March 1969.  /  (2) Model Kellie Wilson in gypsy-style Dior, wearing a long chiffon dress in lilac with white batik print, a ribbon belt and massive gold pendant Vogue October 01, 1969. Photo by Bert Stern.

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

Haute Couture does not always have to be an elaborate, over the top piece. Sometimes the beauty of couture lies in the restraint of line and a certain chic  simplicity that hides the hours of handwork put into each piece. This dress is a numbered Haute Couture piece and would have been made by hand in the Paris atelier. The attention to detail shown in every stitch is fabulous. It is a gorgeous dress.

The dress is made from deep burgundy red silk crepe that is an exceptional high end quality and it is this choice of this very high end fabric that helps to give the dress its beautiful lines. The top is cut into a V at the front with slight gathers where it inserts into the shoulders. It is constructed to look like a separate top that floats over the skirt below but it is actually all one piece. Each sleeves is long and poufs out slightly above the fitted cuffs. I love how each cuff is pleated to pick up the pleat work on the skirt. The three silk covered buttons adorn each cuff and each one sits perfectly in the center of each of those pleats. This detail alone is fabulous. The skirt falls from under the edge of the top and it is attached to its own inner silk bodice. This is the proper way to attach a skirt in couture and this helps it to stay perfectly in place once it's on the body. The skirt is fantastic. Each individual pleat is perfectly matched to its neighbor with meticulous precision. When you stand still the dress falls straight and then when you move you get incredible movement and fullness because of the pleats. It is a brilliantly cut dress. Every stitch has been done by hand. It appears to have been worn very little if at all. Excellent condition.

Fully lined in a matching red silk and closes with an inner handset back painted metal zipper and then closes with a second zipper on the outer bodice layer over that. The cuffs snap into place under three silk covered decorative buttons. The Haute Couture label is present with couture tape under the tag numbered 157888. Hand finished to couture standards throughout. It appears to have been worn very little if at all.

Sleeves: 27"
Shoulders: no true defined seams
Bust: to 19" flat across from side seam to side seam
Waist: to 17" flat across from side seam to side seam
Hips at inner lining: to 20" flat across from side seam to side seam
Length: 55.5" from shoulder to hem

Modern Sizing Equivalent: MED-LRG

Item# DD2913

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 special red jersey dress by Yves Saint Laurent is very well documented. We always love finding pieces that have a solid history behind them. It's from the Spring 1982 collection and its twin was shown on the runway and it was also featured in ad campaigns that ran in various magazines. It's interesting that we actually found two different shots for ads that feature the same three dresses but with the models depicted in different positions. The end that year was shot by helmet Newton which as yet another layer to the history of this dress. The dress is not perfect but it's completely wearable as is and its gorgeous lines and easy to wear cut combined  with its place in fashion history easily offset any small flaws.

The dress is made from a cherry coloured red silk jersey. It is an extremely easy dress to wear. There is elastic through the waist and you just slip the dress on and tie it at the one shoulder and you are ready to go. When the dress is off the body the waist looks dropped but once it's on you realize that this is what allows the bodice to drape over the waist line like you see on the runway and in the ad photos. The silk jersey is fine and light and I love this colour of red. It has an almost pink undertone to it in person and it's very flattering on almost any skin tone. The fabric is gathered along the upper neckline and this gives it the drape and slight gathered look that you see. The upper neckline edge is finished with a piped tie and this extends out and is what is used to tie it at the shoulder. I love how the ends of the long ties just fall down your back from there. The bust is loose and easy and it drapes over that inner elastic waist line. The skirt falls from under there and widens out as it nears the hem. Is incredibly easy to wear and incredibly flattering once on the body. Excellent overall condition but please read the condition notes below.

The dress slips on to wear with elastic through the waist. It ties on the top of one shoulder. Tagged a vintage YSL 40 but the generous cut and elastic waist should allow it to fit a range of sizes. The dress has some marks on the silk jersey of the skirt. It's mostly in the lower areas of the skirt. I also see grubbiness around the hem. It has been cleaned of course and the marks may come out more with additional cleaning. The extent of fabric in the skirt hides it and the dress is perfectly wearable as is. The price is far less then what it would have been otherwise for this well documented dress. The fabric has stretch and movement. The measurements are given with a comfortable range laying flat.

Bust: 15-26" flat across from side seam to side seam
Waist: 12-23" flat across from side seam to side seam
Hips: 17-30" flat across from side seam to side seam
Bodice: 24" from top of shoulder to waist but meant to drape over
Skirt: 43" from waist to hem

Modern Sizing Equivalent: SML-LRG

Item# DD4158

Reference Photos: (1) Spring 1982 Yves Saint Laurent Runway.  /  (2-3) Spring 1982 YVes Saint Laurent Ad Campaign photographed by Helmut Newton.

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

Holly Harp opened a shop LA in the late 1960s and created custom clothing under the Holly's Harp label. She tended to create her clothing out of a hodge-podge of new and old materials. In the beginning she favored things like feathers and fringe but her aesthetic became more 'grown up' and glamorous as her career progressed and she started to focus more on jerseys and draping. She was an avid thrifter and you can often see the influence of earlier decades in her work like with the kimono-esque hand painting and embroidered work on this piece. This is a dress I have had in my archives for a long time and its spectacula.

This is a beautiful example of her work and dresses like this from her are impossible to find anymore. My personal theory on why that is, is that the women who bought her work either wore them to death or are still hoarding them. Her work is magical. The dress is done in the most striking jewel toned red coloured silk velvet mixed with a red silk chiffon. The colour is so dramatic and rich feeling. It is completely cut on the bias cut and only truly comes to life once on the body. The cut is stunning and everything you want from a dress. The neckline is scooped at the front and again at the back. The dress is suspended from two tiny red silk straps and I love the delicate sprinkle of bead work at the base of each strap. The dress skims over you all the way down the body and is so easy to wear. The top layer of the dress is a fused red velvet on silk chiffon. The fabric is very light in weight. To add a little extra glitz there is this subtle bit of silver thread that runs through the velvet parts and these catch the light fantastically. Under this top layer there are three layers of silk chiffon and then a final inner layer of red silk. These are cut in a rolled edge uneven point that centers sown the back and front. The layers give the dress incredible movement and I love the contrast between the velvet and the silks. And the silk underlays go all the way up and are attached around the neckline. This gives you a smooth finish without adding any bulk. It is incredible and so light in weight. It's bias cut mans that when you stand still it falls in one beautiful sleek column but there is actually several yards of fabric in the skirts. It is only when you move that the amount of fabric that is actually there is revealed. The final perfect touch are those strands of piping that are at each side to suggest that the top layer is gathered up so the underskirts can peek out. The piping is finished with beads and there is also more bead work where they are set in on each side. The bead work there is very fine and elaborate. The dress is very well made and hand finished throughout. It is a beauty. Excellent condition

Fully lined an a red silk as described above. Bias cut and just slips on to wear. It has a large of movement and should fit a range of sizes.

Bust: 15-17.5" flat across from side seam to side seam
Waist: 14-17" flat across from side seam to side seam
Hips: open
Length: 60" from top of bodice to longest point of the hem

Modern Sizing Equivalent: XS-MED

Item# DD4096

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

At the age of 31, Stephane Rolland took over as Artistic Director for the Jean Louis Scherrer Haute Couture atelier, making him the youngest of the 20 official couturiers at the time. That was in 1997 and he remained as the head of the Couture division until the last showing in 2005 when the house officials shuttered is couture business altogether. This dress is from the Fall 2001 Haute Couture presentation and it is the actual runway sample that was worn on the runway. It was Look 7 In the presentation that day. I have included several runway reference photos for you so that you can see just how spectacular the dress is once on an actual body. In addition this dress was lent and worn by Alexandra Daddario and we have induded those shots here as well so you can see just how fabulous this is on an actual body. This also adds to its provenance and I love that,

Having the actual Haute Couture runway sample is just that much more amazing even in the land of Couture. Having the sample means that the dress is still completely made by hand to Couture standards but has the added touch of all those last minute adjustments that would have been done  by Stephane and the atelier to perfectly fit the model to walk the runway that day. This is an amazing opportunity to see what few see; a dress straight from the atelier, overseen and fitted by the couturier himself for its debut on the runway. The dress is covered with various sized panels of a red silk gazaar. These have been hand set to overlap as they cascade down the length of the dress. The panel size gradually become larger as they run down the dress to the train at the back. By layering the panels the dress has a sense of depth and texture then even the photos can truly convey. It also adds a subtle movement when you move. Each panel is secured to the base fabric just along its edges so that there is a movement and lightness created when it is on and you move about. The bodice is strapless and the panels are set slightly more towards one side so that they form a bit of peak there. The inner part of the dress is cut to above the knee so that you get a long flash of leg at the front. The rest of the dress flows back and around you from there. At the back the train is long and dramatic. The interior is corseted and structured so that it firmly holds the dress on the body and gives you shape. This is an incredible piece of modern Haute Couture. Excellent condition with one small note to review below.

Fully lined in a fine red silk and closes with two zippers. One is on the interior corset and the second is on the outer layer of the dress. The interior corset is boned and shaped. The skirt is lined in a red silk taffeta. Done with Haute Couture construction techniques. The hand written runway sample tag is present. There is some deepening of the colour/ marks on some of the squares of silk that make up the train and some minor grubbiness from being worn for the runway and then stored. The inner zipper pull is missing and has been replaced by a ribbon. Nothing that detracts once the dress is on. It is closest to a true zero

Bust: 15-15.5" flat across from side seam to side seam
Inner waist: 11.5" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Inner dress length: 26" from top of bodice to hem NOT including panels that go over the edge of the dress a bit above and blow the actual inner structure
Length including train to the very longest point:  Approx 92" from top of bodice to final tip of the train

Modern Sizing Equivalent: XXS-XS

Item# DD3054

Reference Photos: (1-4) Fall 2001 Jean Louis Scherrer Haute Couture Runway Show.  /  (5-8) Alexandra Daddario photographed by Storm Santos.

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 dress that is the twin of the dress that was Look 5 from the Christian Dior Pre-Fall 2011 collection. This collection was shot as a lookbook which gives you an amazing glimpse into his styling process. At the time Dior said this of John's collection: ”Dior’s Fall ready-to-wear collection takes its inspiration from the legendary love affair between Mrs. Wallis Simpson and Edward VIII. English romanticism is channeled into Balmoral fringed tweeds and candy-coloured tartans with Prince of Wales checks. Ultimate luxury and expertise create evening glamour in elegant draped gowns and head to toe sequins to ensure that every head is turned.” Vogue commented that: "John Galliano galloped the Duchess of Windsor through This Is Your Life, with richly hued musings on what Wallis Simpson in her prime might've worn at specific times of day and across the decades." For the lookbook the Dior team took these pieces and styled them in lavish settings to play on this theme making them feel thoroughly Galliano. This was one of the best pieces of the collection and I love having the photo reference from that lookbook so that you can see just how creative it can go styling wise. This was John's second last collection for the house before being dismissed and his last where he was present for its presentation.

The dress is a play on a flapper dress with a soft tartan inspired check blown up to be oversized and then softened with more pastel coloured version of red and blue. It is printed on a silk chiffon to further soften the feel of the print and give it a romantic vintage feel. The dress has the same long lines as a flapper dress but with a far more sexual twist. It can be worn longer and more straight on the body or you can hike it up to be super short and have that incredible top blouse over as I have done in the majority of these shots. The front is plunged right to the waist and then crossed over itself at the base where it meets the seam. I photoed one front, side and back shot with the dress fully extended down so you can see the full lines of it. The triangles of the two bust pieces extend up and around the neck where it ties into place leaving the tie to trail down your back. The back is left completely bare and it is scooped open right to the waist where is blouses out slightly. It is meant to convey the decadence and abandonment of the twenties with the feeling that with the slightest movement you will fall out of the dress. Yet it has a genius cut so that you are covered. A band of silk gathers and wraps around you at the top of the hip and this is what allows you to pull the dress higher or lower on your hips. The skirt falls under that in a flaring flirty bit of fabric that has tremendous movement. I love that he still worked in his signature tightly spaced silk covered buttons down one side and how there is a little bow at the top of the skirt on each hip. These little details are always what makes a Galliano designed piece that much more special. The last detail is the green and red lace that edges the dress. It has been stiffened and has deliberate raw edges to further play on that feel of the dress being a piece from the past. It is laid out over a band of ivory velvet and this last little touch ties everything perfectly together. It appears to have been worn very little if at all. Excellent condition with a minor note below

Fully lined in a fine pink-salmon coloured silk. It closes with the buttons down the side and ties around the back of the neck. At some point someone added a snap under the front where it crosses to make it a little more secure. I have left it but it could easily be removed if you wished. I see a bit of residue on the lining of one halter where a double sided tape was used. Tagged a Dior F 36, GB 8, IT 40, US 4. Note that this was very difficult to measure and depending on where you want the band to sit it should fit a range of sizes

Bust: no true side seam and each halter will easily cover a full range of cup sizes
Waist/top of hip at seam: 17" flat across from side seam to side seam and expanding to 17.5 at the bottom seam of the band
Bodice: to approx 21" from top of bodice to top seam of the waist/top of hip
Band: 4"
Skirt: 14" from waist to longest points of the hem

Modern Sizing Equivalent: XS-MED

Item# DD4036

Reference Photo: Pre-Fall 2011 Christian Dior, Look 5. Model: Alina Baikova.

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 John Galliano dress is one of the most beautiful dresses I have ever seen. And yes - it is the dress that was worn by Ariana DeBose earlier this year to attend the West World HBO premier. I’ve included photos of her here from my various Instagram posts from that evening and you can see and read more on my Instagram. She even landed in the Vogue Best Dressed of the Summer season so far list in this one. It is spectacular. It is a stunning example of his work and is truly a beautiful piece. 

No matter how good you think that this dress looks like in photos and on Ariana, it is even better in person and moving. The silver metallic beads that creates the pattern on the silk catch the light from every angle when you move. The dress is made out of a deep red silk that has the slightest bit texture to it. The dress is cut on the bias so it just glides over the body. It doesn't even have any closures, it is made to just fall over you in a sweep of bias cut fabric. It is in its original supermodel length and has not been altered. It is cut to skim over the bust with a V neck plunge on both the back and the front. The V cut out are set just slightly off center and the back one scoops lower then the front. The dress is so well made that you could probably wear either side to the front and it works if not for the depth of the back plunge. The dress skims over the waist and hips and is cut so that the bias cut of the silk follows your curves and highlights the body underneath without it being too tight and fitted. Galliano was a genius when it came to this cut. Once past the hips the dress flares out as it nears the bottom and is incredibly long. Set in and around the full lower skirt are panels of the same silk that have been pleated. So when you walk or move these kick out and expand to add volume while still falling in a smother column when standing still. These glide and curve around you and add the illusion of even more height. That pleat work is picked up again at each shoulder where a ruffle of pleated and smooth silk wraps over and down the top of the shoulder for a pretty feminine touch. The final perfect detail is that spectacular design made out of a combination of silver tube beads and embroidery work that wraps around the waist and top of the hip. These cover each side of you and cleverly draw the eye in to add shape but without sacrificing the comfort of the bias cut. It is just wonderful. Excellent condition with a minor note below

Fully lined with an inner silk chiffon lining and slips over the head to wear. No size tag present. The measurements given below are the comfortable range when the dress is laying flat. It is in its original uncut length. Being bias cut the length may come up a bit once on the body. The dress should work on a large range of sizes given the bias cut. On smaller frames it will drape more and be more fitted on larger frames. I think the pleats may have softened a bit over time but its hard to know if this was not an international design detail to play on its decadent thirties feel. The very slightest touch of a watermark here and there near the hem. You don't see this at all unless its laid out flat and the skirt opened completely.

Bust: 18-21" flat across from side seam to side seam
Waist: 15-19" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Length: 62" from top of shoulder to hem

Modern Sizing Equivalent: SML-LRG

Item# DD4029

Reference Photos: Ariana DeBose, wearing John Galliano from Shrimpton Couture, at the Season 4 Westworld Premiere, 2022.

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. 

The fabric on this dress is just stunning. It is a cut fused velvet in a chiffon with one of her signature designs made from the velvet parts. The velvet is in a rich deep burgundy red colour that catches the light beautifully. This is fused onto a black chiffon base and the contrast between the two is fabulous. The chiffon parts are partially transparent so you get a sense of that but the dress is but it is also line in black so that it is not completely see-through. The addition of the velvet gives the dress an incredible sensual feel and it feels wonderful when on the body. It is cut in an easy to wear and flattering cut. It simply skims over the body past the bust to the loose and easy cut waist. It skims over the hip and gently widens out as it nears the hem. The bodice has extra detailing across the front with hand applied sequin and beads. The sleeves are unlined and are cut to be wide and full to just about the elbow. Each sleeve is open along the inner seam and the edges slightly overlap so that when you move they have incredible movement. The end of each sleeve is finished beads and sequins. At the wide cut neck there is a panel of silk that is gathered with beads for 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 Zandra Rhodes client and was most likely a custom/direct order.

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.

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 always 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 that was made by him is very special and this one is no exception. Bill 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 he made but he has taken the lines of a traditional piece and extended and manipulated them to make a new silhouette. I love how the fabric combines the cherry blossom print with English roses to further emphasize his combining of cultures in this set. It is gorgeous.

The skirt of this set is made from two panels that have been cut into long rectangles and then are brought along the waist band. This creates this wonderful linear line from the hip to the hem. It is seamed down each side to just past the hips and then below that one each side is a high slit to the hem. So when you move or sit you get this flash of legs. It is very sensual. To counteract the slimness the line of the skirt creates, the jacket is cut to feel more of an oversized. It is left open at the front with no closures. You just slip it on to wear. The top of the collar is set so that it flares out to the sides. The sleeves are long and cut wide. The jacket is detailed with black flat braiding that highlights the cut and adds detailing. More braiding runs along the edges of the set and highlight its lines. The fabric is a beautiful bright red silk satin with little cherry blossoms and roses woven through it in a slightly metallic finished thread. This is one of those pieces in person and in an actual body it id far better then how it looks 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 and slips on to wear. I see a tiny touch of foxing on the side of the skirt, a tiny pen mark on the front of the jacket and some slight lines running up the satin on one sleeve. Please see the photos after the label shot. They are all very minor but mentioned for accuracy. 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: 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.

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

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

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

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

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

Modern Sizing Equivalent: MED-LRG

Item# DD2278

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

Arnold Scaasi was born Arnold Isaacs in Montreal and the name Scassi is simply his own surname in reverse. He studied in Montreal and in Paris, apprenticed at the house of Paquin and then worked with the legendary Charles James. In 1964 he opened own couture salon. He dressed Hollywood stars like Lauren Bacall, Diahann Carroll and Elizabeth Taylor. He dressed several first ladies including Mamie Eisenhower, Hillary Clinton and both the Bush first ladies. He even once bragged that he refused to give Jackie clothes for free. He was the man behind the scandalous 1969 Barbra Streisand sheer trouser outfit that she collected her Oscar in, and he was presented with the Council of Fashion Designers of America Lifetime Achievement Award in 1996. The dress is from his main label and these were made to couture standards. It is incredible to see in person and it will really come to life once on an actual body. We found a very similar dress held at the Museum of Fine Arts Boston and it lets you see just how wonderful the dress will be once on. 

The dress is a showstopper. It is made out of a deep red coloured lace that is then detailed with cording that wraps around the edges of the floral design on the lace. Then he added tiny little rhinestones that are fused to the fabric of the larger flower patterns to give the dress an subtle bit of added glitz. The bodice is cut to skim over you with an inner silk lining in the same shade of red. The sleeves and neckline at both the back and the front are not lined so you get a little glimpse of the skin underneath the lace. The waist is not seamed so there is no line to break the eye. It simply comes in to suggest shape and then flares out to the skirt underneath. The skirt skims over the hips and then widens out as it nears the floor. I love the high low effect that the skirt has. It is cut to be shorter at the front and then the hem curves back and around you where it extends out to a trained effect at the back. All of the edges are scalloped to follow the pattern and shape of the designs in the lace. The inner construction of this dress is as good as the exterior. It is fully lined in a red silk and then the back of the skirt has an added layer of stiffened net tulle to help hold the shape and volume. The inside is exquisitely constructed and it is all hand finished. This is a stunning dress. Excellent condition

Fully lined in a fine deep red silk. The skirt is finished with attached inner tulle skirting. It closes with a hand set back metal zipper. At some point a repair was done to the edge of the inner tulle of the skirt ad there is an area missing in the tulle just above the hem. This does not affect the dress in anyway. Otherwise looks to have been worn very little if at all. 

Sleeves: 24"
Shoulders: no defined seams
Bust: to 20" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Length: 45" from neck to front hem, 64" to back hem

Modern Sizing Equivalent: MED-LRG

Item# DD3813

Reference Photos: Fall 1986 Arnold Scaasi dress from the Museum of Fine Arts Boston collection.

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

Without a doubt this is truly an exceptional piece of vintage Chanel and a rare find. It is a wonderful example of the work that the house of Chanel was creating during this time period. This would have been from right before Karl joined Chanel in an official capacity in 1982, however, in the couple of years proceeding his appointment as Creative Director, Karl was doing freelance work with them so you can still see his influence. The first Chanel Ready-to-Wear collection debuted in 1978 and many of the early pieces like this one were made to order. The main difference being that the pieces were sent pre-sized for the client to the boutique and then the final fitting was done in the boutique rather then at the Chanel atelier. I was pleased to have found a runway shot that dates the set exactly and this suit has the added historical provenance of being the actual suit that was worn on the red carpet by actress Sarah Catharine Paulson.

The suit in person makes such an impact. Far more then it does in the photos. The camera doesn't quite catch the vibrancy of the silk lame fabric or the texture of the chenille that details it. Both the jacket and the skirt are made from a rich red metallic silk lame. Onto that there is a black tufted chenille cord has been hand applied into a squiggle pattern. There is padding between the red lame and the inner lining and this gives it a quilted 'puffed' feel. The texture that this creates is incredible. The actual cut of the set is minimal and this simplicity really allows the fabric to take center stage. The jacket is done with that classic Chanel box cut. The sleeves are long and straight cut. There are three hook & eye at the very top of the neck to hold it closed and then it is open under that to the hem. The edges of the jacket have been finished with a band of the chenille cording to highlight the cut. There are no other embellishments and this simplicity lets it sit perfectly in place once on the body. It is cut to sit just past the waist line of the skirt and you can see how wonderfully it sits in the photos of Sarah. The skirt skims over the hips and then gently widens out as it nears the hem. The top of the waist is detailed with bands of the chenille and there are pockets hidden along the seams of each hip. The fabric is lighter then it looks so the set is very comfortable to wear. It has enough weight to it that both pieces hold their shape perfectly and it has a very sculpted formal feel to it once on. I love that you can wear the two pieces together or break it up and mix them with things from your current closet. It give its a lot of styling options and versatility. The jacket has the Chanel boutique label present and inside the skirt is a hand written / numbered label. It is made to demi-couture standards and almost entirely by hand. The numbered tape suggests that it would have been a custom ordered piece. Excellent condition

Full lined in a fine black tissue silk. Hand finished throughout. The jacket has three hook and eye near the top of the neck and the skirt closes with back hand set zipper. Hook and eye closure at the waist band above the zipper. Light padding in the shoulders of the jacket and pockets along the sides of the skirt.

Jacket
Sleeves: 22.5"
Shoulders: 16"
Bust: 20" flat across from side seam to side seam
Waist: 20" flat across from side seam to side seam
Length: 20" from neck to hem

Skirt
Waist: 14" flat across from side seam to side seam
Hips: 23.5" flat across from side seam to side seam
Length: 43" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3728

Photo credits: (1) F/W 1981 Chanel Runway Collection.  /  (2-3) Cherie, Owner of Shrimpton Couture, by Erin Leydon.   /  (4-6) Sarah Catharine Paulson in our Chanel suit attends the Costume Designer Guild Awards 2019, Styling by Karla Welch

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 little Yves Saint Laurent dress has such a joyful feel to it. I am always excited to find examples of Yves' work from this time period and this one is extra special because it is the twin of the dress that was shown on the 1983 runway. We also found a editorial shot from that season with the same dress in a solid colour that was shot for L'Officiel magazine. I love the solid colour version as well but the printed one just has so much colour and joy to it I can't help but love it a little more. 

This is a gorgeous little day dress that you could easily style to work into the evening, especially during the warmer months. The colours are amazing and absolutely pop off of the cotton fabric that he chose for this dress. Cotton takes colour extremely well and it is the perfect choice to get these crisp vibrant tones. It also holds the shape well so that the dress has volume where Yves wanted it. Yves Saint Laurent was a master at choosing the fabrics that were the perfect compliment to the prints that he used. This dress is no exception to that rule with its riot of bright flowers covering its surface. The cut is pure Yves and a wonderful example of the work he was doing during this time period. The sleeves end just below the elbow and are cut with a full balloon sleeve pouf above their wide and easy elastic cuffs. The bodice is fitted with a V neckline at the front. The upper portion of the bodice is done in the same floral fabric as the sleeves and skirt but he then inset a blue fabric to define the waist and visually cinch it in. He then plays with proportion by adding a blue cotton peplum that runs all the way around the hips and flares outwards. Below that the skirt flares out with a pretty swing feel. The combination of the prints and the cut is genius. Excellent condition with a minor note below

Unlined and zips to close at the side. It is tagged a vintage YSL 36. It appears to have been worn very little if at all but there is some fading to the tops of the curves on the peplum. You notice it more when it is off the body and laying flat but not when on. Please see the photo after the label shot. 

Sleeves: 19"
Shoulders: 14"
Bust: 18" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 15" from neck to waist
Skirt: 25" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3653

Reference Photo: (1) S/S 1983 Yves Saint Laurent Rive Gauche Runway.  /  (2) Yves Saint Laurent Rive Gauche, L'Officiel, 1983.  /  (3) S/S 1983 Yves Saint Laurent Ad Campaign.

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 Who wrote the book on Thea Porter and curated the museum exhibit on her work.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. She ended up finding a photo of a model in the twin of this dress in her photo archives that firmly dated it in 1969.

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) 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 a beautiful example of Valentino's Haute Couture work that he was doing during the 1980s. The bow in particular was an important element of the collections that year and it is the highlight on this set as well. 

Both the dress and the jacket have been made out of a fine light silk crepe that is done in that signature Valentino red.  The dress is beautifully cut and unexpectedly sexy with its bare expanse of skin at the back. From the front it is a simple shift with a high neckline. Straps are set to curve up and over each shoulder, crossing over themselves and then are set into the small of the back. The back is left bare from the shoulder to the waist. The front bodice follows the shape of the body underneath and the skirt falls with a slight flare as it nears the hem. Piping at the waist to add some shape and definition. The jacket is fantastic and you will want to wear it as a stand alone piece as well as part of the set. It is cut to perfection with softly padded shoulders that are set wide and a nipped in waist. The fabric is all gathered in towards the centre of the waist and is highlighted with his signature black bow set at the centre. The jacket is in excellent condition and there is a note to review about the dress below

Both the dress and jacket are fully lined in a hand set red silk of very high quality. Proper finished buttonholes and jet beads on both cuffs. The jacket closes with hook & eye under the bow. The dress closes with a hand set zipper at the low back and the stars button and snap into place. Finished to Haute Couture standards and entirely done by hand. There is a very faint mark on the bodice of the dress. Please see the photos after the label shot.

Dress
Bust: 17" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 20.5" flat across from side seam to side seam
Bodice: 15" from neck to waist
Skirt: 21" from waist to hem

Jacket
Sleeves: 22.5"
Shoulders: 17.5"
Bust: 20" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 24.5" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD2839

Reference Photo: Models in Valentino. Photo by Guy Bourdin for Vogue Paris, 1985.

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