This exquisite 1920s dress is made from a mix of an actual metallic gold thread has been woven together with a deep burgundy coloured silk. These early lame's were mainly being made in France and were extremely expensive to make because of the gold thread. You just do not see its equivalent in modern fabric ever which makes these early piece that much more coveted. To give you an idea of value, pieces made from this gold lame were often in and around the $100 mark or more and in the 1920s you could buy a car for $600 dollars. This one dates to the late twenties and you can see the influence of the 1930s in its design. Women were still wearing very little under their garments at this period of time and this dress simply drapes over the body and is extremely sensual in feel. It is so hard to find pieces at this level from this period anymore and this one is extraordinary.

The mix of a the deep burgundy and the gold is very beautiful. When you see the dress in person the gold is the more predominant colour and the entire dress shimmers in the light. There is a floral pattern that is worked 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. It crosses over itself slightly where it meets the waist so that it stays in place when you have it on. At the back it dips just as low and ends in a pretty curve at the base of the plunge. From just under the bust to the top of the hips the fabric is gathered and wrapped around to follow the curve of the body. The gathers meet down the centre on both sides in an elaborate panel made of the same fabric. The panel is set into the dress and has been gathered with ruching so that it catches the light differently and creates a bit of a break in the design. Below this the skirt falls to the floor in a series of soft pleats that wrap all the way around the hips. It curves up in a slit at the front so that you get a bit of leg showing when you move. The dress is entirely cut on the bias and drapes beautifully once on the body. The lightness and fluidity of the fabric make it move around you like liquid. It is a remarkable example of the work being done during this time period. The colour is still vivid and the fabric is strong & wearable. The part I love the best - because the gold thread is actual metal when you first put the dress on it is cool to the touch and then it warms to your body temperature as you wear it. Remarkable. Excellent condition with a note below

Unlined and slips on to wear with a row of hand set snaps down the side to close it. Hand finishes throughout. There are a couple of small areas of darkening to the lame and I have photos the darkest spot. This is a natural occurrence to this type of fabric as the metal oxides over time. I do not consider this to be a flaw and any tiny areas only add to the patina of this outstanding dress. 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 a small repair to the hem of the skirt. Please review the last three photos provided. The fabric does have some stretch since it is all cut on the bias but the under bust measurement is fixed with no give.

Seam under bust: 13.75" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Seam just above hips: to 18.5" flat across from side seam to side seam
Hips under the lowest seam: open
Bodice: 13" from top of shoulder to the seam under the bust, approx 23" from shoulder to seam just above the hips
Length: 60" from shoulder to hem

Modern Sizing Equivalent: XS-SML

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.

Alexander McQueen shows always verge on avant grade installation and performance art and this one was no exception. Lee himself once said 'I don't want to do a cocktail party, I'd rather people left my shows and vomited. I prefer extreme reactions.' Vogue called this collection poetic despite that fact that it has been inspired by the 'The Shining'.  The Fall collection was entitled 'The Overlook', the name of the hotel in the film, and it was held inside a giant lucite box. The show invitation was a single sheet of A4 paper with the words 'All work and no play make Jack a dull boy' repeated over the paper. The show was set in a giant plexiglass cube complete with a birch forest, ice skaters and snow. The models walked through the forest in the falling snow as they made their journey around the box for the audience outside and the final looks were shown complete with a blizzard that was reminiscent of the final scene in the film. In the book 'Alexander McQueen', edited by Claire Wilcox, the summary of this show was that 'The collection marked a high point, not just as fashion as spectacle but also for the visual interpretation of narrative film in another medium'. Further in the notes outlining the show the coats were mentioned specifically 'As usual McQueen intrigued with his tailoring, this time manifested in a frock coat with a fantail silhouette, which attested to his interest in asymmetry and birds'. It is of particular note that the coat and its silhouette was so central to most of the coats shown. We have included shots of Looks 19, 29 and 46 but if you watch the full runway show you can see that variations of it were used throughout the presentation. 

This is a deep red version that is otherwise identical to the coats that walked the show. Very few of these would have been produced and it is amazing to have such an early piece of his work in the shop. A piece like this truly showcases McQueens strong tailoring background and master cutting abilities. I love that it is identical to the show pieces in all but the colour. Which is better then the ones shown on the runway in my own opinion. I love the strength of the deep red. The upper portion of the coat is cut with a nod to a traditional men's suit and then he has twisted and shaped the front edges into that asymmetrical shape that you see. I love that it still feels very refined despite its avant grade shape and cut. The shoulders are shaped and lightly padded with a slight soft slope to them. Each sleeve is cut on a slight curve in the proper manner of tailoring a sleeve and each has a row of three buttons to finish them at their ends. The body of the coat is shaped with a female body in mind and is cut in at the waist for shape. It closes with a single button and I am obsessed with that single flap pocket that has been elongated and runs down the hip on an angle that follows the shape on that side of the jacket. The lapels curve around the neckline and run down to the button. They are notched cut and finished in the same fabric as the body of the coat so that your eye is drawn to the angles and shapes below rather then be distracted by a collar in a different tone or fabric. The coat slides over the hip and then flares out dramatically into that fantail cut mentioned in the show notes. I laid the jacket out flat for you to see just how amazing it is cut. When laid out flat you can see how the hem is cut on a long curve that slopes up to one side, swooping up into a boxed cut end. The other end extends out from the waist in a long line to meet the curve. When it is on this falls more behind you and around you at the sides and it has tremendous movement when you walk and move. The inside is lined in a red silk satin that matches the exterior. The workmanship is meticulous and it is an absolutely beautiful and rare piece of his early work. Excellent condition. 

Fully lined in an red coloured silk satin. It closes with a single button at the front. Buttons on each cuff. There are two extra buttons sewn onto the inner label. Tagged a size 44. The front pocket is still tacked shut. Padding on the shoulders. It looks to have been worn very little if at all. 

Sleeves: 25"
Shoulders: 16"
Bust: 18" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Hips: open
Length: 61" from neck to longest point of hem

Modern Sizing Equivalent: SML-MED

Item# DD3701

Reference Photos: F/W 1999 Alexander McQueen Runway Collection. Look 19 (Model: Sunniva Stordal Bjorklund), Look 29 & Look 46.

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 has the distinct provenance of being a version of the dress that Lauren Hutton wore for Vogue in 1975. I have included that photo of her for reference. That same photo also makes an appearance in the 'Halston' Book by Phaidon. Photos of two of the versions of the dress walking the runway show that season also appear in two of my Halston books. It is fabulous to have found this very versatile deep burgundy dress. This is classic Halston from his main label couture line. It is one of the most instantly recognizable looks that he ever created because of the Lauren Hutton connection. It is an incredible example of his work from this time period. 

This is an amazing couture Halston dress and a very rare and special find. It is entirely cut on the bias and utilizes his signature minimal seaming. Halston defined how woman dressed in the 1970s and these jersey dresses that he did were tremendously flattering to the body. It is also insanely sexy while still being extremely comfortable to wear. The fabric is a beautiful deep red burgundy silk jersey that moves and drapes beautifully. This one is especially interesting because unlike its later counterparts it is actually more like two dresses that have been layered over each other and sewn along the top edge. This gives the dress an inner lining and helps to soften out any bumps underneath the top layer which makes it very flattering to wear. The dress is made to be one long tube with two long ties that extend out from the base of the front plunge. The ties are on the top portion of the two layers. These extend out from the base of the neckline and you can simply loop them over each other as I have done. You could also wrap and tie it at the back and I have shown that option as well. I can bet that you could come up with more ways too. On either side of the plunging neckline the fabric extends into a triangle halter shape and curves around the neck where it hooks into place. This leave the entire back completely bare and exposed. The front ties make it incredible versatile and really it is like buying several dresses in one. You have the versatility to wear it with the ties wrapped around you for more shape through the waist or you can let the ties fall down the back so the the dress simply skims over the body instead of hugging your curves. The skirt flares out at it reaches the floor and it has a ton of movement when you move. It is spectacular. This is a rare example of Halston at his very best and it is easy to see why his work is the subject of so many books and retrospective shows at museums worldwide. I would not be surprised to see someone wearing Halston for the upcoming Met Gala themed exhibit on American fashion. Excellent condition with a minor note below

Constructed from two bias cut layers of silk jersey with the ties extending out from the bottom of the plunging neckline of the top layer. The dress slips on to wear with no closures. It can be wrapped and tied several ways as shown. Hand finished. It is all bias cut which should allow for a bit of range of sizing. I see a small mark on the inside lining of the bodice. At some point it looks like there has been a repair down to the seam that is under the tie. I took a photo of that for you and you can see that after the label shot. It is staple and well done so its been left as found. The fabric has some stretch and I have put the comfortable range of measurements laying flat. You could probably get a little more if needed

Bust: The front halter should accomadate a variety of cup sizes. The room under and around the back is 17" flat across maximum with no further stretch. Since there is no opening you have to be able to get your hips or shoulders through that as well 
Waist: 12-14"
Hips: to 18" flat across from side seam to side seam
Length: approx 60" from shoulder to hem 

Modern Sizing Equivalent: XXS-SML

Item#  DD3700

Reference Photos: (1-2) Lauren Hutton in Silk Jersey Halston Dress, Vogue, September 1975. Photo by Francesco Scavullo. (As shown in the book 'Halston' by Phaidon).  /  (3) Carla Araque, Fall 1975 Halston Collection. Photo Peter Simins. From the book 'Halston' by Phaidon.  /  (4) Halston matte jersey draped and tied empire halter dress, May 1975, from the book 'Halston: An American Legend' by Elaine Gross and Fred Rottman.

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

Zandra Rhodes is one of my favourite designers and I love the pieces that she did in the 1980s. This dress is from her Spring 1983 'Mount Olympus' collection that was based on Greek design. Versions of the collection appear in both of the books on Zandra Rhodes that are referenced below and a version is held in the digital study collection of her work. We have also included a reference photo of the original sketch for this collection and you can see this dress with a hip sash on that sketch numbered 83/115. It is an extraordinary find for the collector and a rare piece of her work from this time period. 

This is a stunning dress that is done in a dramatic deep burgundy red wool crepe. The dress is cut loose and easy through the body. It is really like a generous cut smock dress which will allow it to fit a large range of sizes. You can see in the reference photos how it falls over the body in the most comfortable of ways. You could also take a cue from the original sketch and add a hip sash or belt it for more shape. The sleeves are cut wide and loose above the cuffs. The collar is the star of the dress. It is made from a soft chamois suede in a natural colour. It wraps around the neck and down the front and across the shoulders. This was then screen printed by hand which makes each one that was made unique. It is completely covered with one of Zandra's signature designs in a red that matches the colour of the crepe and a blue grey colour for contrast. There is a small collar that has punch work all the way around it and more punch work is done around the edges and into the bibbed part. The bottom edge of the collar is hand beaded and there are little medallions of suede fringe set all around. It is one of the more elaborate versions of these that she made and it is wonderful. Even the suede on the cuffs has punch work. It is a very special piece. It has been worn and loved so has a beautiful vintage patina to it. Great overall condition.

Unlined and closes at the back with buttons and loops. I see two repairs on the body of the dress. The suede shows some variation in colour from aging and gentle use. Part of the suede has softened so the edges curl a bit. There is a small mark here and there on the crepe. Please see the photos after the label shot. Still completely wearable and all of the flaws are patina and aging from being loved and gently worn. The generous cut and sloped shoulder should allow it to work on a range of sizes. 

Sleeves: approx 25"
Shoulders: no true defined seam
Bust: to 24" flat across from side seam to side seam
Waist-hips: open
Length: 43" from top of shoulder to hem

Modern Sizing Equivalent: SML-XL

Item# DD3699

Reference Photos: (1) S/S 1983 'Mount Olympus' collection. Close-up of suede bodice with pinked edges, punched and printed with 'Indian Circle' design, style 83/59.  From the book "Zandra Rhodes: 50 Fabulous Years in Fashion."  /  (2) Models wearing raw silk dresses with suede bodices from the 'Mount Olympus' Collection, backstage at the S/S 1983 fashion show. Hats: Stephen Jones. Photo: Robyn Beeche. From the book "Zandra Rhodes: 50 Fabulous Years in Fashion."  /  (3) Models in the S/S 1983 'Mount Olympus' collection. Hats: Stephen Jones. Jewellery: Andrew Logan. Photographs: Robyn Beeche. From the book "Zandra Rhodes: A Lifelong Love Affair With Textiles."  /  (4-5) S/S 1983 Zandra Rhodes Mount Olympus dress & original sketches from vads 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.

This beautiful and happy feeling dress is one of my favorites from the pieces of Malcolm Starr that I have had in the shop. It was designed by Elinor Simmons, who was a young designer that Malcolm brought in to the company to design a higher end line for him in 1965. She eventually left in 1972 which giving us a window within to date the dress. Everything about this dress suggest the late 1960s or early 1970s.

The print on this dress is a wonderful mix of cherry red pinks mixed with mustards and a deep purple. The pretty Batik feeling print was then screened onto a crisp cotton. I love the mix of colours and the happy cheery feel that it gives the dress. You can also see how extremely well thought out and planned as evidenced by how closely the pattern matches at the seams. To accomplish this it would have had to have been all pre-planned out prior to cutting that fabric so that the print would exactly follow the cut and lines of the dress. This is a technique that is not as common to see anymore in modern ready-to-wear since it uses extra fabric and adds to the production cost. The dress is beautifully cut. The front bodice is cut to skim over the bust and the fabric crosses over itself to create a deep V. The sleeves are long and slim. I love how the print is laid out so that it creates a border around the neckline. This then runs down the centre of the skirt and curves around the bottom hem. The skirt flows out from the waist and it is quite full. The fabric choice helps it to keep its angled shape that you see as it widens out at the hem. The front of the skirt is slit up the centre to the top of the legs. It was most likely meant to be worn over a pant or shorts. If you preferred it closed it would be easy to add a series of hooks or just close the seam. It comes with its original matching fabric belt that has been densely covered in hand applied beads. These add a little touch of glitz and glamour to the dress and it cinches in the waist for added shape. It is gorgeous. Excellent condition with one note below.

Unlined and closes with a back metal zipper. The belt closes with hook and eye that could be adjusted or moved to get the perfect fit. There are a couple of beads missing near the hooks at the back of the belt. Please see the photo after the label shot.  

Sleeves: 22"
Shoulders: 14.5"
Bust: 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 14" from top of shoulder to waist
Skirt: 34" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3697

Reference Photos: Amanda Lee Shirreffs for her weekly column on our blog, Curated. (Photos by Erin Leydon) Click here to see the full column >

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 when I find these earlier examples of Oscar de la Renta's work. He would have been more personally involved in them and they really showcase the designer he was to become. It reminds me of the butterfly front dress jerry Hall wore for the Fall 1979 show and I suspect that this was made in and around that time period. The dress really showcases the the genius of his work and attention to detail. I love it.

This is an amazing strapless dress that is extremely sexy and flattering. The base of the dress is made of a deep rich jewel tone velvet. This fabric choice give the dress a wonderful depth and texture and the red of it is amazing. The shots are close to the actual colour but it is even better in person and richer feeling. The strapless bodice is cut in a slightly dipped sweetheart neckline and inside there is an attached inner corset to hold the dress in place that hooks to close under the zipper of the exterior dress. It falls over the bust and then is cut to skim over the waist and hips. The waist is slightly brought in to create shape but there is no horizontal seam to break the lines of the design. The skirt is incredible and is cut so that it curves out as it nears the hem. When you stand still it falls in a beautiful column but when you move and walk it kicks out around you for some volume and movement that is gorgeous. The effect of this is far more dramatic and fabulous on a real body. If you even remotely love it in the photos you will love when you see it in person. The finishing touch is of course that stunning large beaded bow that has been added across the entire front of the chest. It follows the neckline perfectly and then curves over the bust. The work is all hand done and made up of thousands of tiny black glass tube beads. Excellent condition with one note below

Fully lined in a red silk and it closes with a painted metal and nylon back zipper. Hand finished throughout. The bust has a built in inner cupped and lightly boned bra corset that hooks to close. I see two small areas on the velvet where the pile has flattened slightly. One on one hip and the other at the back near the seam at the bottom. Please see the photo after the label shot. Tagged a vintage OLDR 10

Inner bust: 17." flat across from side seam to side seam
Inner waist: Will stretch from 15-17" flat across from side seam to side seam
Hips: to 21." flat across from side seam to side seam
Length: 52" from top of bodice to hem

Modern Sizing Equivalent: SML-MED

Item# DD3694

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

This dress is the twin of the one worn by Brooke Shields for the December 1983 cover of Cosmopolitan Magazine. We also found a photo of the dress that I believe is a backstage shot from the runway presentation. It is instantly recognizable as having been designed by Bob Mackie. Mackie was best known for dressing Cher and for his undying love of opulence and bead work, both of which he incorporates heavily into the best of his designs. Modern girls are obsessed with his vintage pieces. He worked for both Edith Head and Jean Louis prior to working as a costume designer and co-designing with Ray Aghayan. That led to his incredible journey in designing for stars like Cher and Diana Ross for many years. In some ways he and his creations defined their careers and that era of glamour. I think he secretly always designed for the big screen and the bygone glamor of Hollywood as his work is always over the top and extravagant.

This is an amazing dress from his main line. It is extremely sexy and flattering an I am so pleased to have photos of it so that you can see just how great it is on an actual body. The base of the dress is made of a black silk chiffon that has a touch of transparency to it. It is then backed in a layer of the same chiffon to keep it from being see through. Then onto that are thousands of tiny glass tube beads set in vertical rows that run up the full length of the dress. The rows combine a deep, almost black, red bead with bright vivid red beads to get the effect that you see. On the areas where Mackie wanted to emphasize your curves he concentrated the beads into a denser pattern. He then worked in large faceted red rhinestones to add some extra texture and to catch the light even more. This combination of the red glass tube beads and pop of large crystals let every inch of the dress to catch the light and sparkle. The dress has a good weight to it when it is off of the body because of that extensive bead-work and yet once on the body it drapes in a way that it is balanced and not at all uncomfortable to wear. The bodice is cut into a deeply dipped front V neckline. Tiny based straps curve back and around your neck. They hook together to create a racer back and your entire back is left bare and open. The waist is brought in to create shape but there is no horizontal seam to break the lines of the design. It is all done by that clever illusion of the dress wrapping around you. The skirt is incredible and is cut on a curve so the back is longer then the front and it has a high slit at one side at the front. The effect of this is far more dramatic and fabulous on a real body and it really shows off the legs. I love how the denser bead work follows that curving line that is created. It makes your waist look incredibly snatched in.  If you even remotely love it in the photos you will love it more when you see it in person. Extremely well made and made to demi-couture standards. These were sent to the stores with a full lining made of a second layer of black silk chiffon and you could remove this if you wanted a true nude, semi-see through dress that Mackie is so well known for. Excellent condition.

Fully lined in a black silk chiffon and it closes with a low set painted metal and nylon back zipper. A hook brings the two straps together at the back. Hand finished throughout. It is cut on the bias so should drape to fit a range of sizes

Bust: to 17.5" flat across from side seam to side seam with probably a B to small C cup
Waist: to 14.5" flat across from side seam to side seam of the built in corset
Hips: to 18" flat across from side seam to side seam
Length: 63" from top of the shoulder to back hem, 33" to the top of the slit at the front

Modern Sizing Equivalent: SML-MED

Item# DD3695

Reference Photos: (1) Brooke Shields in Bob Mackie, Cosmopolitan, December 1983.  /  (2) Daryl Hannah in Bob Mackie, Vanity Fair, April 1984. Photo by Helmut Newton.  /  (3) Mackie Gowns modeled - originally designed for from left to right, Sharon Stone, Cher, Brooke Shields and Diana Ross. (credit unknown).

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

This is a stunning Valentino that is from the time period of Valentino when it was being co-designed by both Maria Grazia Chiuri and Pier Paolo Piccioli. They had stepped into Mr Valentino's shoes and were breathing new life into the brand. I love that they still adhered to the label's heritage in keeping with using the classic Valentino red colour.

The dress is made from a light stretch silk crepe chiffon in the signature shade of red that Valentino is so well known for. The fabric choice lets the dress light in weight while still holding that beautiful shape that you see. The bodice is strapless and is kept very simple and elegant. It is cut straight across the edge at the top and then the silk has been gathered across and over the bodice. The outer layer of silk is set so that it wraps over one side of those gathers and and then is caught up in a curve below the bodice. It follows along the waist line in a soft curve and is caught up on the opposite hip. There it drapes down the skirt in a pretty soft panel that creates a slight ruffled effect down the full side of the dress. The back is cut to fall in a smooth sheath so you get the feeling of length. It is the perfect mix of simplicity and elegance. The skirt falls to the floor in a graceful column and gradually widens out just a touch as it nears the hem. The lightness of the silk combined with the open panel on the one side allows the fabric of the skirt to move with the slightest bit of movement on your part and it is so pretty when you walk. Inside it is beautifully constructed. There is a built in full interior corset to hold you in place. It is lightly wired and boned and that is combined with a stretch lingerie netting for comfort. It is a beautiful and romantic dress. It is a very wearable size and looks to have been worn very little it at all. Excellent condition

Fully lined in a red stretch silk and closes with a back zipper that is covered with a red silk satin ribbon. The interior cupped and boned corset closes with its own separate zipper. The interior bodice has some stretch so I have measured the comfortable range laying flat - you could probably get a little more out of it if needed. No size tag bit I would guess that this is a modern Valentino 44 or 46

Interior bust: 20-22" flat across from side seam to side seam
Interior waist: 15-18" flat across from side seam to side seam
Hips: 22-23" flat across from side seam to side seam
Length: 55" from top of the bodice to the front hem, 56" to the back hem

Modern Sizing Equivalent: LRG-XL

Item# DD3696

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

A few months ago I sold a green version of this caftan and I am so pleased to have found a red one so soon after. Like the green, this Thea Porter caftan was made in 1977. It was dated from a copy of the original sketch of the caftan shown worn over a pair of wide legged pants. A copy of that sketch also appears in the 2015 book 'Thea Porter: Bohemian Chic' and I have included both the sketch and a shot of it in the book for you reference. These open front versions were especially loved for their versatility and ability to 'hide the body beneath the billowing forms, with transparent fabrics hunting subtly at the female form'. Of all of Thea's pieces, her caftans have come to represent Thea's work like no other piece of her clothing that she designed. Elizabeth Taylor was a huge fan and collector. By the end of Taylor's life she had amassed a large collection of Thea's work that was auctioned off through Christie's in 2011. Many of the caftans in that auction fetched well over the $20,000USD mark and a burgundy version of this one sold at the auction for USD $8125. Each of Thea’s caftans were made by hand and no two are exactly alike. 

The caftan is very beautiful and is made from a plush devore velvet on a silk chiffon base. She has used the same velvet for the top and bottom portion of the caftan but has set them to that the pile of the velvet goes on the opposite direction. This causes the velvet to catch the light differently and in person the effect is gorgeous. Around the neck and down the back is a raw silk panel that is both embroidered and detailed with hand set beading. Red silk piped ribbon is set along the edges of the caftan to highlight its shape. At the sides and front this piping extends out to tassels that hang down and move when you move. Thea was known to hunt antique stores and markets during her extensive travels and use what she found in her designs so some of the elements used may be found antique textiles. The caftan is unlined and once it is on you see that velvet fused chiffon is semi-transparent. This see-through quality makes is very sexy despite the full coverage it has. The front tassels tie to hold it closed. You can easily add a soft belt to add shape like the one shown in the reference photo that was owned by Elizabeth Taylor. A very special piece and worthy of its book noted provenance. It looks to have been worn very little if at all. Literally like it stepped through time. Excellent condition

Unlined and slips on to wear with a little hook at the front. It's easy and open shape should allow it to fit just about any size. Hand beading and finished by hand

Width: 37" side to side at widest point
Length: 49" from neck to middle hem and falls to 55" at the sides

Modern Sizing Equivalent: OSFA

Reference Photos: (1) Thea Porter sketch of a devoré velvet open-fronted version of the abaya, 1977   /  (2) Previous sketch shown in the book "Thea Porter: Bohemian Chic" by Laura McLaws Helms and Venetia Porter.  /  (3) 1977 Thea Porter from Christie's.

Item# DD3687

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

Spring 2003 marked Alber Elbaz's second collection for the Lanvin and the reviews were very positive. Vogue's Sarah Mower said of the collection; 'Bouquets are due Alber Elbaz for excellent taste and innovative design aimed directly at the sophisticated women of the world. His spring collection for Lanvin was a rare vision of luxurious dressing, balancing luster with rawness in a grown-up, wearable way.... The designer also has a genius for dresses, which came in many variations on the goddess theme.... As a collection, Lanvin was a highly considered—and considerate—piece of work, executed with an impressive degree of respect for real women.' Besides being a documented runway piece and one of the genius dresses Vogue referred to, the dress is especially interesting because of the tag that is inside. Normally the ready to wear tag has the company name and the date of the collection noted underneath. This tag is larger with just the Lanvin name and has a hand written #39 on the tag. There is also an additional hand written tag. Given that this was look 39 in the show I am sure that this is the actual runway sample. The inner work is all by hand and has the look of a sample dress finish. This makes it extremely rare and a piece that Alber would have worked on himself and handled. Especially considering it was only his second show for Lanvin! He would have been completely hands on with each piece. It is an exceptional and early example of his work. We lost Alber this year and it is an honour to have such a beautiful piece of his work from early in in his career with Lanvin in the shop. 

It isn't until you put this dress on that you realize just how masterful the draping is. It is the easiest dress to wear. There is wide ribbon of elastic running around the inner top edge of the dress. You just slip the dress on and it falls to the floor in one perfectly draped column of silk chiffon. The silk is gathered along the top of the edge and then top stitched into place. It skims over the bust and falls loose and easy over the waist and hips so that it is incredibly comfortable and accommodating once on the body. The silk has a beautiful block print on the terracotta chiffon with one side of the dress left as a solid colour with no print. I love how this break the print up and adds more visual interest. A second layer of chiffon sits under that top layer and it is also printed. Both layers have a touch of transparency to them so that the two prints on each layer are slightly offset. This gives the print an extra dimension of depth as they move over each other when you move. The very bottom of the hem is an earthy brown and there is a band of feathers that runs around the hem between the print and the solid bottom layer. The edge is left raw and there is a tiny dot of the red spaced out all the way round the edge of the hem. On each hip there is a slip opening that has been done on both layers. There is no actual pocket but if you look at the runway footage that I have added you can see the other two dresses that were done in this same print. One of those was worn belted and draped. I think he added these slits onto the dress so that if you wished you can add a belt or a ribbon to wear low on the hip or at the waist. Or perhaps they tried it belted and instead wrapped the ribbon around the neck. They way it is now give you some versatility. Adding a ribbon or a belt would change the line and length of the dress and gives you many more styling options. And in referring to that ribbon - you will also notice that the runway photos show a ribbon wrapped around the neck and one shoulder. This was not sold with the dress. It was a styling edit done for the runway and you can see ribbons used in different variations on other looks in the show. It would be very easy to just add a wide black ribbon and recreate if you wanted the same look as how it was presented on the runway. The dress is absolutely gorgeous and a wonderful example of his work and a piece of his history with the brand. Excellent condition with a minor note below

Unlined and slips on with an elastic running through the upper edge of the bodice. Slips along the seam of each hip as described above and photoed. The measurement range below is the comfortable range of the fabric lying flat. It is very accommodating and will should fit a variety of sizes. There is one repair on the back solid part of the ham - with the feathers above it you don't see it when the dress is one. It otherwise appears to have never been worn, or worn very little

Elastic at the top of the bust: 14-20" flat across from side seam to side seam
Waist-hips: open to 30" flat across from side seam to side seam
Length: 56" from top of bodice to hem

Modern Sizing Equivalent: XS-LRG

Item# DD3686

Reference Photos: (1-3) Spring 2003 Lanvin Runway Collection, Look 39.  /  (4) Credit unknown.

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

The Western world in the twenties to fifties had a special fascination with the far East and this highly influenced the fashion of that time period. In particular, Japan and China began to export and sell pieces that they made specifically for the tourist market. These often combined classic design elements of their respective cultures with a slight Western twist to the cut and colours that were used. You will often will see the shorter jackets come up for sale but the longer cut coats like this one are a little harder to find. They are far more versatile in my opinion. These were the most prized both then and now. This one is stunning. It is made from a very fine red silk with a floral detailing that runs over the entire coat. These are embroidered and woven directly into the silk and then there is a secondary pattern woven through the silk in the same red but with a matte thread. The cuffs fold over at the wrist like a men's bathrobe and then they have been tightly top stitched for extra detail. At the neck that same top stitching detail runs along the collar and continues down the front. It closes with big silk frog buttons in a matching red silk. It is lovely and light which makes it very easy to wear. I have worn this myself in the past and it is a great and versatile piece. Excellent condition with a minor note 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 little grubbiness to the interior collar 

Sleeves: 14" 
Shoulders: 15"
Bust: 18" flat across from side seam to side seam
Waist: 18" flat across from side seam to side seam
Hips: 22" flat across from side seam to side seam
Length: 53" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# C574

Reference Photos: 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.

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.

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

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

This particular dress has the added provenance that its twin was worn by Nancy Reagan on two separate occasions. The first time was at a party in London where she was photoed with Douglas Fairbanks Jr and Princess Grace of Monaco. She then wore it again to the premiere of Annie in 1982. It was obviously a favourite and for good reason. The dress is absolutely gorgeous. It has a long slim cut with just a suggestion of shape through the waist. As it nears the hem it widens out just a touch and there is a high slit on the side that the shoulder is bare on. This allows you to walk and also lets a flash of leg show when you move or sit. It is lined with a very fine, high end red silk that feels like heaven over your skin. The top is angled up and over the shoulder. It is cut wide at the top of the shoulder and this curves over you and then dips down to follow the same angle at the back. The edge of the neckline and the arm are both finished in a small ruffle of the same silk faille that the rest of the dress is made out of. For detail he has added a gorgeous design that follows the angle of the angled front and back. The design is done to suggest leaves and grapes perhaps. It was created by utilizing a trapunto quilting effect where two layers of fabric are used, the underside of which is slit and padded, to produce a raised pouf effect on the top layer. It is a tedious method that would have added several hours to the dress to do this by hand. The dress is stunning on and the reference photos of Nancy included here give you an idea of how much it transforms once on an actual body. Excellent condition 

Fully lined in a red silk and closes with a zipper at the side. Ribbon edge inter seams. It appears to have been worn very little if at all. The colour in person is a little darker then how it photoed. In person it is between the colour of the shots here and the pics of Nancy in the reference photos 

Bust: 17.5" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 56.5" from top of shoulder to hem with approx 2" turned under
Slit: 26.5 from hem up

Modern Sizing Equivalent: SML-MED

Item# DD3649

Reference Photos: (1) Nancy Reagan with Douglas Fairbanks Jr and Princess Grace of Monaco at a party in London, 1981.  /  (2-4) Nancy Reagan at the premiere of 'Annie' at Radio City Music Hall in 1982.

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

John Galliano was moved over from Givenchy to Dior in October of 1996 and stayed there until he was dismissed in February of 2011. During John Galliano's years at the house of Christian Dior he arguably produced some of the most amazing bias cut gowns in the houses history. His work, especially the bias cut pieces that he did, have a feeling of the decadence and abandonment of the twenties and they are beautifully cut. They marry Old Hollywood with the minimalist spirit of the nineties and early 2000s and the results are stunning. This is an amazing example of his work while there and it has a fantastically dramatic feel to it. 

This dress is made from a deep red satin finish fabric that is cut completely on the bias. It is very beautiful. The bias cut allows it to skim and drape over the body so that is shows every curve but is not tight at all. The neckline is wonderful. One side is attached and curves up and over the shoulder. The other side is a panel that extends out from the neckline and then you let it drape over the opposite shoulder. This panel is very long so it drapes down your back to create the most beautiful line. The dress is cut to follow the curves of the body with seaming reminiscent of the work you see from the twenties and thirties. A panel of fabric is gathered low across the hips   and the the skirt flares out under that. The skirt is remarkable and cut with a long extended panel at one side. This has a little loop at the end so you can hold it on one hand or hook it to a bracelet so it curves across the front or back of your body. You can also hook it onto any of the buttons that run down the side of the dress. You can do a single loop at the side or wrap it around you and hook it. I have shown it a couple of different ways and I bet there are a dozen more clever ways you could style it. This gives the dress such a dramatic and couture feel. I love it. A tightly spaced row of buttons runs down the side of the dress to close. This is of course a Galliano signature and it this adds to the sense of antiquity the dress has. It is stunning on. Excellent condition

Unlined and cut on the bias. It slips on to wear and closes with the series of buttons and fabric loops that run down the side. Inner waist stay hooks to close. The bias cut should allow it to fit a variety of sizes. The length might come up when on depending on the size of the girl underneath since it is cut on the bias. This does not have its main Dior tag anymore but does have its proper Dior sizing tag present. Tagged a US6

Bust: 15-17" flat across from side seam to side seam
Waist: 11-12.5" flat across from side seam to side seam, you could get a little more room here if you don't do up the inner waist stay
Hips: 17-19" flat across from side seam to side seam
Length: 64" from shoulder to the front hem, 66" to the the back hem

Modern Sizing Equivalent: XS-MED

Item# DD3619

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 fantastic piece by Yves Saint Laurent that manages to feel refined and chic, yet very bold at the same time. This is a piece that would have been produced in the early 1970s and shows all the hallmarks of his work during this time period. The body of the sweater is made of a wool mix and I love how it blends a deep rusty red with a darker taupe colour. This gives the piece a very chic country feel. It is cut to cut long and straight through the body with no waist so that it creates a simple line that stops at the top of the hips. If you wanted more shape you could easily belt it. Front pockets sit low on the front on eithor side of the buttons. The buttons themselves are round and thick and are a deep charcoal meant to highlight the fur trim. The fur circles around the tops of each arm and is a soft and supple black fox. This adds unexpected volume to the top. This came from a woman who was very fashionable and regularly bought couture and high end and her pieces were well stored. Excellent condition  

Unlined and closes down the front with the buttons you see. Tagged medium. The pockets at the front are shallow but functional. There is the slightest of wear to the edges of the fur but I am being extremely picky. 

Slightly dropped shoulders: 17"
Bust-hips: 19" flat across from side seam to side seam
Length: 28" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# S926

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

I have a small collection of historically important, key designer labelled vintage furs and fur trimmed pieces stored away in my archives that I will be slowly posting on the site over the next couple of years until I have none left. I will no longer be buying furs for the shop moving forward and have not purchased anything for several years now. I feel like times have changed and while there still is a place for vintage furs for some, including collectors and historians, many modern girls are choosing other options. Many of the pieces in my collection are representative of the designer during a set time period in history that was different then our modern outlook. I have decided that the best course to handle this controversial issue is to let the pieces I have go rather then sit in a cold storage unit. Fur pieces are final sale.

Loris Azzaro launched his label in 1967 and quickly defined his trademark looks with colour, ornate beading, sequins, daring cut-outs and avant garde ways of defining the body. Some of the most beautiful women in the world wore his clothing including Marisa Berenson, Raquel Welch, Jane Birkin, Sophia Loren, Brigitte Bardot and Tina Turner. It was a label that defined sexiness and had a certain French flare that women world-wide loved. By the eighties he was experimenting with volume and proportions and new fabrics that at the time were all cutting edge. This is a killer example of his work during this period and I also one in the shop in a black if the red one is too bold for you. 

This brilliant red dress is over the top dramatic and an absolute statement piece that will turn every head when you walk into a room. The bodice is hand draped into soft rounded gathers. It  is constructed to follow the curves of the body from the top of the neckline to below the hips. For the main body of the dress he has used a red jersey that has a touch of a metallic feeling finish to it so that it has a liquid effect. Inside is his signature black strapless underwire bralet that is sewn into the dress for support. The bodice is shaped into a low sweetheart curve and the gathers run horizontally down the body. Vertical hand done seams run all the way around to give the gathers a slight scooped feel. This keeps the draping from adding bulk and keep the focus on emphasizing your curves underneath. The low set skirt is made out of a metallic red textured silk that is set over layers of built in under skirting. The fabric of the lower skirt is placed to give the effect that it is wrapped and fanned around you. On each outer side the panels of the skirt lift up and away from the dress. These suggest flames in their shape and the colour. The same fabric and flame-like effect is then used to create a fan of fabric on one side of the bodice and this flares out dramatically up and over the front portion of the shoulder. It is very bold. In person the red and fabric are a touch richer and more textured feeling then how they photoed. Excellent condition.

Fully lined in a red silk with a built in bra though the bodice that hooks to close separately. It closes at the back with a painted metal and nylon zipper. The interior bodice is boned. Layers of tulle and silk underskirts under the low set skirt. The flame/fan detailing on the bodice has stiffening fabric inside to hold it up and it does tend to fall a bit. It would be easy to add additional wire or stiffening inside if you wanted it to really hold tall. Hand finished throughout

Bust: to 18" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 52" from top of bodice to hem

Modern Sizing Equivalent: SML-MED

Item# DD3587

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 comes directly from the original couture client and is in immaculate condition. This is an exceptional example of Valentino's Haute Couture work that he was doing during the 1980s. It is one of a group of dotted red chiffon dresses that Valentino showed on the runway that season. 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 pleased to have found runway footage of the group of dresses that he did. The twin of this one was a runway piece and you just get the tiniest glimpse of it on the video I have added here. I have also included a gorgeous shot of Daniela Ghione wearing the dress that year. Style icon Nan Kempner was photoed wearing a different version of the dress which gives you another idea of how fantastic the dress will be on. It is an extraordinary and historically important piece of Valentino's couture work

This dress is divine. The lines of it are beautiful and as good as it looks on the dress form it is perfection on an actual body. The bodice of the dress is fitted and nipped in at the waist. It is cut in a sweetheart neckline that softly curves at the top and is strapless. The bodice is done in an extremely intricate manner. Panels of the silk chiffon have been cut on the biased and then shirred and diagonally crossed over each other to form that complicated pattern that wraps around the entire bodice. The little striped illusion effect that you see in each curving panel is actually the white dot in the silk hat has been meticulously lined up to precision with the one above and below. This painstaking pleating and gathering technique would have taken hours and hours to accomplish. This then forms a shaped bodice that runs down past the waist and molds over the top of the hips. From under that the skirt flares out to the floor and is made up of many yards of the same bias cut red and white dotted silk chiffon. The fabric is feather light so that your slightest movement cause the silk to flow around you. On one hip there are panels of silk that are set to run down that full side to give it an extra burst of volume and movement. The interior of the dress is made to couture standards with a full built in cupped corset that is boned and shaped to just past the waist. From under the bodice the skirt is made up of three full layers of silk; two of the dotted silk and a red silk inner layer. It is one of the most beautiful dresses I have seen and looks to have been worn very little if at all. It is an amazing example of his earlier Haute Couture work. Excellent condition. 

The bodice has a full built in boned corset made that hooks into place. The dress zippers to close over that. The skirt is made up of three layers as descried above. Done with Haute Couture construction techniques. Inner waist stay hooks to close.

Bust: 17" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: open
Length: 52" from top of bodice to hem

Modern Sizing Equivalent: SML-MED

Item# DD3588

Reference Photos: (1) Daniela Ghione in Valentino Haute Couture Spring/Summer 1986. Photo by Oliviero Toscani.  /  (2) Valentino Haute Couture SS 1986. Photo by Lord Snowdon.  /  (3) Model in Valentino Haute Couture, Vogue Italia, March 1986. Photo by Albert Watson.  /  (4-5) Nan Kempner at Barbara Walters's Four Month Wedding Anniversary Celebration at The Pierre Hotel in New York, September 1986.

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. 

Any Haute Couture piece to come into the shop is a reason to celebrate but to have the actual runway sample is even that much more amazing. The dress is a work of art and is entirely made by hand to Haute Couture standards with the added touch of all those last minute adjustments done 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 entire dress is made from multiple panels of a red silk gazaar that are hand set to overlap themselves as they cascade down the length of the dress. The panels gradually become larger is they run downwards over the dress to the train at the back. They cover the entire dress from the strapless bodice to the very end of the train. By layering the panels the dress has a sense of depth and texture then even the photos can truly convey. 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 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 very long and dramatic. The bodice is strapless and here the panels are set so that they form a peak upwards on one side. The interior is corseted and structured so that it firmly holds the dress onto the body and gives you shape. This is an incredible piece of modern Haute Couture and would have been priced well into six figures when it was originally made. 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. Nothing that detracts once the dress is on. It is close to a true zero and will zip properly in the back on the right sized person. 

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: Fal 2001 Jean Louis Scherrer Haute Couture Runway Show.

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

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.

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.

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.

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.