This is from my same client whose aunt purchased from Ady Couture who I explained in depth in this listing while she was living in Switzerland during the eighties and into the nineties. Prior to that, during the late sixties and into the early 80s her aunt lived in both France and Brussels where she purchased pieces from Louis Mies. Mies was a small independent couturier who did custom work for his clients to couture standards. I have not been able to confirm that he had permission from the houses to replicate their Haute Couture pieces for his clients like Ady did but my client seems to think this was the case based on family records. I also have some new information that he might have sold actual couture pieces through his salon as well. So this may be an actual Yves Saint Laurent. Either way it is definitely the Fall 1973 dress that I have included several reference photos for here. It is beyond beautiful in person and one of my favourite personal pieces from her estate so far. 

The level that this dress is made to is a beautiful thing to see. All of the finishes are by hand and it has all those lovely details that you expect in a couture level garment. It is made out of a silk taffeta and then the different sections are all of different colours. Using the silk taffeta helps it to hold its intended shape and I love the fullness of the skirt. The bodice is more fitted and cut to skim over you. It crosses over itself at the front and has that lovely ruffle detailing there that swoops down on an angle to the waist. The waist is cinched in under that and I have added a velvet ribbon to emulate the bow that Yve's originally showed it with. The sleeves are beautiful. Each is made on a curve to follow the shape of the arm. They are softly set into the shoulders and then taper down to the wrist where they close with a zipper. The skirt is a work of art. It curves out from under the waist and falls to the floor where it widens out as it nears the hem. It is incredibly full but betas the fabric is so light it does not seem that way at first. It is only when you move that you realize just how full it is. The skirt is made by altering panels of the silk taffeta over each other to create the ever widening tiers that you see. This technique also helps to hold the shape of the skirt and give its its volume. Each tier is finished with a ruffle that has been gathered and set by hand. The hours of work that it would have taken to implement this detail is mind boggling. I love that the tiers are done in different colours The same red as the bodice mixed with pink and burgundy. The interior is made to couture standards with all the inner seams finished by hand. I have included some shots of the inner seams for you to see. It is extraordinary and the kind of quality and beauty that you will only find with vintage. It appears to have been worn very little if at all. Excellent condition

Unlined and closes with a hidden set zipper at the side and then a series of hand covered snaps that run along the waist. Each sleeve zips to close. The inside is all hand done and it is finished to couture standards. 

Sleeves: 24"
Shoulders: 15"
Bust: to 17" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of shoulder to waist
Skirt: 44" from waist to longest point of the hem

Modern Sizing Equivalent: SML-MED

Item# DD3859

Reference Photos: (1) Model in Yves Saint Laurent Couture, L'Officiel de la Mode n602, 1973.  /  (2) Model in Yves Saint Laurent Couture for Femme Chic Magazine, 1973. Photographed by Claus Ohm.  /  (3) Yves Saint Laurent Haute couture hiver 1973/74. L Officiel 1000 modèles.

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 a stunning dress that has a Saks Fifth Avenue tag and no other so its origins are a bit of a mystery. It is coming from the same estate of a woman I am just starting to go through. She bought a lot of Oscar de la Renta, Fath, Versace and other high end labels and you can tell that this a dress of quality even without knowing her label preferences. It is made out of a beautiful clear and true red matte silk satin. The fabric is just heavy enough to be able to hold the shape, but is still light enough that with every move it billows out around and behind you. The bodice is very unusual. At the front it is strapless and curves across your bust. At the back it has an almost racerback feel with the an angled cut that extends all the way to the high back of your neck. It then extends out and wraps around to form a collar that you see at the front. This gives the dress a bit of an edgy feel that I love. The bust is fitted and shaped to accentuate your curves. Below that the skirt is very full and billows out and around you beautifully. It is cut to be very full. It curves over the hips and then flows to the floor as it widens out. At the back it is cut longer then the front to give it a beautiful curve. Big soft pleats start at each side of the hips and then continue to the back. The way they are set into the base of the back give the skirt more fullness there and the effect is just beautiful. From the side this creates a beautiful curving angle from the waist to back hem. No matter what angle you see the dress it is stunning. It is just fabulous. Excellent condition

Fully lined in a red silk through the bodice and a the skirt is self based in a black. Built in inner skirts that give it the fullness that you see and then a red silk inner skirt under that. It closes with a back hidden set zipper.  Ribbon edged finished seams. It appears to have never been worn or worn very little.

Neck: 12.5" around
Bust: 16" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Inner hips: 22" flat across from side seam to side seam
Bodice: 15" from neck to waist
Skirt: 42" from waist to front hem, 48" to the back hem

Modern Sizing Equivalent: XS-SML

Item# DD3858

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 piece is wonderful and shows the range of what Hanae Mori was capable of. It is simple and beautiful but still striking. It dates to the late 1970s, early 1980s and it is an absolute work of art. Hanae was the first woman of Japanese descent to have presented on the Paris and New York Runways and the first Asian woman to be admitted as an official Haute Couture house to La Chambre Syndicale de la Couture Parisienne. Her work is exceptional and plays a strong part of my own personal archives. I own the exact twin of this kimono and would never part with mine as it is so versatile. 

I have worn variations of this exact kimono for years now whenever I head out for the evening. It is the perfect pop of color over a dress and is light and luxurious feeling for evening. I have even in a pinch have wrapped and closed it with a large pin, or just wrapped and belted it with the matching belt, and worn it as a dress. It is absolutely stunning. This really shows her talent for taking traditional elements from her own culture and giving them a more western world twist in terms of modifying the cut. It is made of a red silk and lined in silk as well. The colour is beautiful red and that is softened with the pretty and romantic flower and butterfly print that covers its surface. The red of the silk is that perfect shade that flatters most skin tones and the print is done in a mix of pretty soft blues and greys. It has a matching sash belt that you can use to add shape and cinch in the waist. The sleeve are cut to be wide and full and the body is loose and easy. It looks to have never been worn or used and would be perfect to use as wedding kimono, to take on your honeymoon, or to top an evening ensemble. Of course it also works as a lingerie piece and a dress. It is the ultimate multi-tasker. The print that covers the kimono is hand screened and painted with hauntingly beautiful butterflies that flit across the surface of the silk. The butterfly is a Hanae Mori signature and I love that they are used with such romantic abandon on this kimono as they trail across its surface. Excellent condition

The kimono is fully lined with a pale soft purple/blue tissue silk and has no closures. This one comes with , its matching sash belt. The fabric is signed throughout. Tagged a S but the open, loose cut will allow it to fit just about any size. It looks like it has never been worn. 

Sleeves: approx 27" from the natural shoulder to the longest post they fall and are 23" around
Shoulder: no defined seam
Bust: to 22" flat across from side seam to side seam
Waist-hips: to 21" flat across the inner seam but adjustable with the sash
Length: 56" from neck to hem

Modern Sizing Equivalent: XS-LRG

Item# DD3857

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

This is a beautiful example of Valentino's work that he was doing during the 1980s for his ready to wear boutique label. I have had the dress that matches this coat in the shop a very long time ago and was very pleased to find the coat after all these years. A couple of versions of it walked the runway that season and they were captured in runway shots where the models are decadently dragging the coats behind them in that very eighties runway kind of way. This one has hand hand written tag on it near the label so is possibly one of the actual pieces shown on the runway or was perhaps a special order. I love it.

This is that perfect over-sized, padded shoulder coat that feels suddenly so fresh again. It's overdone proportions were meant to balance out more fitted things underneath and that still holds true today. That impact of its volume mixed with that huge rose print is just fantastic. The coat is made out of a wool that has a felted feel to it. This gives it a lovely matte and soft texture that I am sure he did deliberately to mimic the velvet texture of a rose petal. It also softens the print and gives it a dreamy romantic feel. The coat is cut in that very eighties way with wide set, strongly padded shoulders. The sleeves are long and lean and the coat is a straight column from the shoulder to the hem. On the dress form it comes in a bit toward the bottom and it will do that a touch on an actual body too, but when laid out flat out it does have a very straight, long feel. Pockets sit low on each hip and a third one sits at one breast to giving it a touch of masculine suit cut. The collar is high and done in a ring of black velvet. That play between the masculine and the feminine is something that Valentino excelled at and this coat is the perfect combination of the two. It is perfectly representative of the feminine 'power dressing' look of this era. It looks to have been worn very little if at all. Excellent condition 

Fully lined in a quilted black silk satin and zippers to close at the front. Padded shoulders and all the pockets are functional. It is meant to be oversized so should fit a range of sizes.  

Sleeves: 24"
Shoulders: set over the natural shoulder due to the padding and are 17.5"
Bust: to 23" flat across from side seam to side seam
Waist-hips: 24" flat across from side seam to side seam
Length: 49.5" from neck to hem

Modern Sizing Equivalent: MED-LRG

Item# C595

Reference Photo: F/W 1985 Valentino Runway 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.

The Spring 1966 Dior collection was inspired by a recent trip to Mexico by the then Creative Director Marc Bohan. In the book 'Dior: Catwalk' the notes for this collection include a quote from the New York Times that said; "Fuchsia is the preferred colour and appears throughout the collection, accompanied by acid green, intense yellow, bright pink and deep purple" Besides the many caftan silhouettes in this collection - a young Barbra Streisand was photoed for Vogue in one of the evening pyjamas from this same collection that was taken immediately after the show - Bohan also did a series of chic little shift dresses and this is one of them. It is exceptional and an excellent investment piece as well. Dior prices continue to skyrocket and finding Haute Couture examples like and in this condition this are getting harder and harder to find. 

This is an amazing little dress that still feels perfectly on point for our modern girl which shows you just how well great design holds up even after 50+ years. It is cut in a sleek little shift that skims over the body to the hem with just the slightest bit of a flare as it nears the bottom. This gives it that perfect neat and chic silhouette that has an almost sculptural feel to it that was so prevalent in this era. The dress is beautifully constructed and it is cut to fit and flatter the body. The shoulders are soft and the sleeves are capped and simple. The shape through the body of the dress is a boxy silhouette with just the tiniest suggestion of shape through the waist. The inner construction is marvelous and that simple exterior has been lovingly created by carefully piecing together the various panels the dress is made out of so that it always lies perfectly on the body. I love the collar. It curves around the neckline and is set back from the front of the neck. You get into the dress by unbuttoning the panel at the front. Here sit six large very thick hand dyed to match buttons. Each is the same shade of pink raspberry fuchsia as the boucle the dress is made out of. Each button hole is precisely made by hand and perfectly finished. It is genius and meticulously tailored. The fabric deserves its own mention as it is a very high end nubby boucle. It has an almost coarse feel to it and the added texture it gives is wonderful. And of course it is in that same beautiful bright pink fuchsia that was so very relevant to this collection. In person the colour is far better and has more a pink cherry red undertone than how it photoed. Little vertical slash pockets on the front of the skirt are the perfect finish. If you are looking for a simple and chic statement dress this is it. It is simple, chis and elegant, yet extremely glamorous because of that stunning colour and nubby fabric choice. Excellent condition with a note to review below

Fully lined in a fine pink silk the same shade as the exterior. The dress buttons to close at the front. Hand dyed buttons. The colour is slightly different in person and more a true fuchsia pink then how it photoed. On the interior there is some fabric loss to the lining under each arm. On the exterior the fabric has felted a bit right near the inner seam. This would not show with normal movement. Please see the last three photos after the label shot. It otherwise is in gorgeous condition. It only opens above the waist so you need to be able to fit the waist over your shoulders to get it on. It is meant to sit slightly oversized and full through the body

Shoulders: 15"
Bust: 19" flat across from side seam to side seam
Waist: 18" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 37" from neck to hem with 3.5" turned under the hem 

Modern Sizing Equivalent: SML-MED

Item# DD3853

Reference photos: Christian Dior 1966 / 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 Davidow label was a manufacturer of suits and coats and made a name for themselves in the 1960s by starting to produce copies of Chanel. Which they did pretty amazingly and at a price more suited to those who could not afford couture (this time period pre-dated Chanels foray into ready-to-wear). These were sold through better shops throughout America and were widely popular. 

This coat is a marvel. It made me gasp when I saw it. It is very well made and the fabric is extraordinary. I doubt you will see another like it again. It is made out of a soft flat pile chenille type velvet in a combination of a deep red and a black on a white base. The base fabric appears to be a heavy, almost canvas type fabric and then the black and red chenille have been applied in a pattern onto that. The pattern is so intricate and it has a wonderful 3D effect. I love the care put into matching the pattern on the sleeves to the body of the coat. The horizontal rows run over the entire coat in an incredible and intricate design. The coat has a bit of a military feel to it and I love how the pattern is laid out to highlight the high collar and sculpted lines. Flap pockets are placed high on the breast on the front of the coat. They are perfectly set to follow the pattern and each has a large decorative gold toned dome button. The same big gold dome buttons run down the front giving the coat a neat and polished feel. The shoulders are soft and the sleeves are long. A matching belt cinches in the waist and adds shape. The fairly simple design of the coat allows that beautiful fabric to take centre stage. An interesting thing about this one, it closes almost all the way to the bottom hem so could be worn as a dress as well. Excellent condition with one minor note below

Fully lined in a black silk and closes with the gold toned dome button down the front. The top flap pockets are decorative only. Hidden working pockets along the seams at the front. Hand finished throughout. It appears to have been worn very little if at all but there is evidence that it was let out on the upper bust on both sides. It is fine as is or could be taken back in if needed.  Please see the final photo after the label for a close up of the seams there

Sleeves: 23.5"
Shoulders: 15"
Bust: 18" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 43.5" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# C596

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 cape is wonderful. It is by Yves Saint Laurent and is a beautiful and easy to wear piece that will fit virtually any size. It dates to the late 1970s, maybe to mid-1980s and is very representative of the work he was doing during this time period starting with his famous Russian collection of 1976-77. The cut is very simple. The back is one large panel and then there are two panels that fall across the shoulder and down the front. It has no closures and just drapes over your shoulders and simply falls perfectly into place. The fabric is a loose knit red mohair and this fabric choice gives it a a beautiful warm and cozy texture. It is edged in a deep brown black fox fur set in little in long strops that go back and forth between the natural fur and a shave strap to give it that textured and tufted feel that you see. Running down each shoulder and over the tops of where your arms would sit are a series of flat black buttons that are set to run along a wide strip of flat cording. Each of the buttons is completely functional and this allows you to wear the cape in a variety of ways. Once you open you can wrap one or both pf the front panels around and over a shoulder for multiple ways to wear it. It looks to have been worn very little if at all. It is the type of item that you can throw over almost anything. Excellent condition

Unlined and drapes over the shoulders to wear. All the buttons are functional. A tiny bit of scuffing on a couple fo the buttons. The loose and open cut means it should be able to be worn by any size

Width: 60" side to side
Length: 42" neck to hem

Modern Sizing Equivalent: OSFA

Item# DD3826

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 coats are final sale.

Isaac Mizrahi presented his first collection through a trunk show at Bergdorf Goodman's in 1987. By 1992 Chanel had bought a stake in the company and Isaac's name was everywhere. He was doing custom work for clients and Hollywood on top of his mainline. In 1995 Isaac was the subject of the movie 'Unzipped' based on his Fall 1994 collection. He is known as much for his personality as he was for his clothing. The Council of Fashion Designers of America (CFDA) recognized him with the Perry Ellis Award (now called the Swarovski Emerging Talent Award) in 1988 and the women's wear designer of the year award in 1989. He loved to experiment and would often change his aesthetics from season to season which was his ultimate downfall. After the fall 1998 show Chanel pulled its stake and the company folded. He did have a couple of subsequent come back attempts, but for collectors these early years are the most important pieces to find.

This particular coat is very special. It's near twin was a highlight of the "Isaac Mizrahi: An Unruly History" exhibit in 2016 and a version was featured in Town and Country that Year. We also have a copy of the original sketch included here. My client had this one custom made for herself that year and worked one on one with Issac on it. Isaac was only 30 years old at the time of this collection and he was the hottest ticket in town. This jacket in all its versions was dubbed the 'Tee Pee' series. When the New York times reviewed the 2016 exhibit they mentioned this series in particular and it's impact culturally; You get the feeling that Mr. Mizrahi is always daring people to criticize him just so he can prove them wrong. Besides “Desert Storm,” other pieces in the exhibition also seem to willfully court controversy — even more so today than when they debuted. From a 1991 collection called the “Tee Pee” series, for example, there’s “Totem Pole Gown,” a strapless, form-fitting sheath of yellow wool embroidered with imagery mimicking the faces and patterns of Native American totem poles from the Pacific Northwest. (Ms. Campbell appeared in that dress on the Sept. 16, 1991, European edition of Time magazine, making her the first black model to appear on that magazine’s cover.) Another from the series is “Tee Pee Shearling,” a red coat adorned with beaded patterns emulating American Indian motifs. Like a Pop artist, Mr. Mizrahi was thinking not of authentic Indian art but of cheap kitsch sold at roadside souvenir stands. Still, considering today’s ethnic and racial identity concerns, often inflamed on social media, you can imagine the uproar that would ensue were Mr. Mizrahi to introduce such garments now.'......  I agree and I don't think something like this would be produced today unless it was by an actual Native American designer, and rightly so, but the jacket still has its place as a mirror of the times and Mr Mizrahi's own personal sense of wit and way of looking at the world around him during this time period. 

The jacket is cut to be oversized and large as it sits on the body. This will allow it to fit just about any size. You just slip it on and it has no closures at the front. The collar and front edging flip over slightly when on so that you can see the red shearling on the inside. The entire jacket is shearling with the fur to the inside and the suede part to the outside. The cut is big and oversized. The sleeves are cut to an extra long length and you can flip up the cuffs to show the sheepskin there too. There are pockets on each side of the hips and the coat widens out as it nears the hem to be very wide and full. Onto the shearling are a series of hand beaded Native American motifs. These curve around and follow the shape of the jacket running across the front and over each sleeve. The design continues to the back where it is very extensive and elaborate. All of the bead work is done by hand and uses bright primary colours that pops off of the red. The jacket also has a band of suede fringe that runs along the bottom of the design all the way around you to the front and then all the way around the back and around each sleeve. The colour is a beautiful deep burgundy red and the beadwork pops beautifully against it. It is an extraordinary piece that definitely has it's place in fashion history. Excellent condition with one minor note below 

The suede is fully backed in sheepskin shearling. The jacket slips on to wear with no closures. Pockets on either hip. The cuffs can be flipped down or worn flipped up. I see an area of darkening to the suede around the beadwork at the back. Please see the photo after the label shot. The loose and over-sized cut should allow it to work on just about any size. 

Sleeves: approx 26" with the cuffs flipped down 
Shoulders: no defined seam
Bust-hips: 30-31" flat across from side seam to side seam
Length: 35" from neck to hem

Modern Sizing Equivalent: OSFA

Item# DD3827

Reference Photos: (1) Fall 1991 Isaac Mizrahi Sketch.  /  (2-4) Photos from "Isaac Mizrahi: An Unruly History" at the Jewish Museum, 2016.  /  (5) Fall Fashions 1991 featured in Town and Country Magazine.

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

This fabulous dress would have been designed while Youssef Rizkallah headed the company. 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 favorites. He had this ability to make things glamorous in the most unexpected way. 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 lines that he gained in Paris with the color and vividness of his homeland. I particularly love his more glitzy pieces and this one is a stellar example of that. 

The colour combination done on the silk chiffon of this dress is amazing. I lo e the coral red and the blue together. The silk also has gold metallic thread that is woven through the silk to created little golden dots. If that was not enough there is also hundreds of tiny gold sequins added. They add a subtle bit of shine that picks up the light in the prettiest of ways. All of those gold sequins have been hand applied onto the silk. They are set to follow the curving parts of the design and form large medallions over the skirt for a rich and exotic feel. Under the top silk chiffon is an interior red silk lining that is set through the skirt and front bodice. The entire back and sleeves are not lined so you catch a glimpse of skin through the silk. Very sexy. Each sleeve extends from the bodice in a wide cut of fabric and then tapers down as they reach the wrist so that they billow out over the wrist. They are cut extra long and are meant to slightly scrunch up around the wrist so that the fuller part above takes centre stage. The neck is simple and slightly scooped and the skirt falls from the waist and gently widens out as it nears the floor. It zippers at the back to just above the waist and then buttons from there to the neck. The entire back is unlined so you get this fantastic semi-transparent effect. I have added a red grosgrain ribbon that I will include with the dress and you could easily use a different belt of your own to change the look even more. 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.

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

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

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

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

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

Modern Sizing Equivalent: MED-LRG

Item# DD2278

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

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

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

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

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

Modern Sizing Equivalent: MED-LRG

Item# DD3813

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

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

This dress is absolutely incredible and one of the prettiest things I have seen lately. I love this dress. The fabric is a wonderful silk taffeta that has a romantic washed floral design covering its entire surface. The print is set onto the silk in a soft washed feel like a watercolour painting. The bodice is strapless and fitted to hug the body. Light boning at each side helps to hold it in place. The silk was then draped to closely follow your every curve. The fabric on the bust crosses over itself and gathers bring the dress in at one side to create the illusion that it has been wrapped around you. The wrapped illusion is made even more apparent by the wide ruffle that trims all of the edges. This wide panel os fabric follows the cur of the dress and curves around the hem and then back up. The form is shipped ups lslightly as a result for some leg to show and I love ow the hem is slightly asymmetrical as a result. The ruffle also acts to emphasize the curves and the shape of the dress. It has a very bombshell feel to it as a result. The waist is cinched in with seaming and a large flower made of the same fabric is nestled into the folds just under the bust for the perfect finishing detail. Everything on this dress is done to create that highly sculptural shape. It looks to have never been worn or worn very little. In person the colour is a bit more towards a dusty pinky red then the coral it photoed as. It is even better in person. Excellent condition

Fully lined in a pink silky rayon and closes with a hidden set side zipper. 

Bust: 17" flat across from side seam to side seam with an A to small B cup
Waist: 13" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Bust: 10" from top of waist
Skirt: 30" to the longest point at the back

Modern Sizing Equivalent: SML-MED

Item# DD3581

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 Rizkallah 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 the piece that he designed pieces had  both his name and the Malcolm Starr International name on the label. 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. This is the second time I have had this dress in the shop. The first time was an all gold and blue version and I am very happy to have this red and gold version this time.

This stunning dress is one of my favourite Malcolm Starr designs. In general I love the Rizkallah years. They have lots of drama and impact and this dress is a gorgeous example of his work. The fabric is gorgeous. A heavy dose of gold metallic thread covers an underlying pattern in corals and red, all on an light silk brocade feeling fabric. The effect is amazing. It is almost like wearing a piece covered in gold leaf. The dress at first glance looks substantial but in reality it is actually shockingly light in weight. It is just heavy enough to hold the shape and volume you see but it is so easy to wear. The bodice skims over the torso and is cut to be a little more fitted. The sleeves are capped and the waist line is set higher up to sit just under the bust. The front neckline is notched and plunges down to meet the band under the bust. Around the neck, the waist and at the end of each sleeve is a detailing of gold braid that has rhinestones set all along its length. I love the flat bow that sits just under the bust made from that same gold and rhinestone cording. The skirt cascades to the floor, widening out as it nears the hem, and I love the fullness of it. Pockets sit on each hip. The silk used is very lightweight and the fabric really holds the shape of the skirt beautifully. I love that it is lined in a soft coral silk. That unexpected flash of colour is spectacular against the gold. It is just a beautiful dress. Excellent condition.

Fully lined in a coral silk and closes with a painted back metal zipper. The inner skirt lining is finished with a wide band of dressmakers horse hair at the hem to help support and keep the shape of the skirt over it. Hand finished. The zipper will open easily if the sides are pulled apart but it stays up once zipped.

Shoulders: 15"
Bust: 17.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 11" from top of bodice to waist
Skirt: 42.5" from waist to hem with 2.5" turned under the hem

Modern Sizing Equivalent: SML-MED

Item# DD3746

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

This is a gorgeous dress by Pierre Cardin and I absolutely love it. There is a certain silhouette that is closely associated with Pierre Cardin but he was actually a designer that had a huge range. At times some of his other silhouettes get overlooked and they should not be. This wonderful Haute Couture example that I believe dates to the late seventies or early eighties. It is a beautiful and elegant piece that may not be as 'mod' in feel as some of Cardin's other pieces during this time period but shows the breadth of his talent and the high level of glamour that he was capable of.

The dress is made from a silk that has a dense application of hand placed sequins running over its entire surface. The colour of the sequins is a red that has a touch of an orange undertone to them. They are laid out flat side by side to catch maximum light. This gives the dress an almost molten feel that is stunning from every angle. The shape is kept very simple so that those spectacular sequins take centre stage. The front is cut onto a peak and then from that peak straps extend out, cross over themselves and then curve over each shoulder to meet the fabric at the back. The back is cut low and deep to leave a wide expanse of bare skin. It falls in a sleek column over the body and is brought in with seaming to shape it through the waist. It curves over the hips and stays fairly snug to the legs and then the bottom skirting flares out. That bottom skirt is a full 14" high and if you lay it out flat it is a true circle. The way it is set into the skirt lets it fall in soft curving ruffles all around you. When you walk it kicks out and has beautiful movement to it. The dress is very chic and very femme fatale. It is a dress that may seem unremarkable on a hanger but transforms into an insanely good piece once on the body. It appears to have been worn very little if at all. Excellent condition

Fully lined in a red silk and closes with a hand set back painted metal zipper. Hand set lining. It is cut on the bias so has some play in the measurements. The comfortable range is noted below. A tiny bit of patina on the back of sequins near the neck and at the very edges here and there. Very minor  

Bust: 15-18" flat across from side seam to side seam
Waist: 15-16.5" flat across from side seam to side seam
Hips: 18-21" flat across from side seam to side seam
Length: 7" from top of shoulder to hem with 1.5" turned under the hem 

Modern Sizing Equivalent: SML-MED

Item# DD3748

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3728

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

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

True Haute Couture pieces by Chanel are an extraordinary find as they are so very rare and hard to come by. This one, like several other of the Haute Couture pieces in the shop at the moment, are from one of my clients whose mother purchased the majority of her Couture pieces between 1973 to the mid and late seventies. This particular set has the added provenance of having its twin photoed on actress Sylvia Kristel. We also found the original presentation photo from the couture collection that year and it shows you just how gorgeous this set will sit on the body once on. It is an incredibly beautiful example of the work that the Chanel ateliers were doing during this time period. 

The set is two pieces. A silk jersey dress that has incredible lines and then a matching silk jersey cardigan that is hand beaded. The dress is made out of two distinct layers. There is a complete inner dress made out of a silk crepe that is cut to skim over you and act as an inner lining. Attached to sit over that is a silk jersey exterior layer. The jersey is all cut on the bias and it is incredibly flattering. The neckline sweeps across the collar bones and sits wide at the front. A thin and open keyhole runs down the center of the bodice from just under the top of the neck to just above the waist. The waist itself is gathered into this elaborate circle that is entirely and meticulously made from hand set pleats. This creates a pretty and soft effect at the front. All around that circle is a series of soft pleats that span outwards. The back is cut onto a deep V for a little bit of skin to show. The skirt falls in a draped column and there is no seam at the waist so the line remains long and beautiful. Over this is a soft cardigan made from the same silk jersey on the exterior. Inside it has been hand lined in a matching red silk chiffon. All of the edges of the cardigan have been covered with beautiful beaded flowers and a border that is made from red and black glass tube beads. These would have been applied and created by hand by Lesage to the exact specifications given by Chanel. The bead work gives the design a slightly raised effect and they have a subtle glimmer in the light. I love this contrast between the bareness of the dress underneath with the coverage of the cardigan. It gives you two completely different looks to work with and wearing it with the jacket completely transforms the look and feel of the dress. It goes from a more bare and sexy dancing dress to something that feels more formal but still with that sense of ease created by the silk jersey. Both pieces are entirely made by hand as Haute Couture dictates and the fabric would have been made specifically for Chanel and this piece. This is a fine and rare example from this time period. It is truly brilliant and when you see it in person you will be astounded at the level of craftsmanship and care put into the construction. In excellent overall condition with notes below.

The dress has an inner attached silk dress and there is a wide grosgrain band that hooks to close at the interior of the waist, The inner dress zips to close under that and the outer dress buttons into place with a series of hand covered silk buttons in a matching fabric. The jacket is fully lined in a red silk chiffon and hooks to close down the front. Both pieces have been completely hand made. The label was removed at some point. There is a are some small marks that I have photoed. They may come out with a more aggressive or specialty cleaning. Please see the photos starting after the shot of the way it closes at the back.

The color in person is more a deep raspberry/ soft burgundy with a bit more of a red pink tome then how it photoed. The waist measurement is taken of the inner grosgrain band. You should be able to add to it if you needed more room and get another inch or two to work with. It is all hidden under the exterior dress so would be a very doable tweak.

Dress
Bust: approx 17" flat across from side seam to side seam
Inner grosgrain at waist: 13" flat across from side seam to side seam
Inner lining hips: to 18.5" flat across from side seam to side seam
Length: 60" from top of shoulder to hem

Cardigan
Sleeves: 23"
Slightly inset shoulders: 14"
Bust: 17" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Length: 25" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD3730

Reference Photos: (1) SS 1976 Chanel collection in Paris, January 23 1976.  /  (2) Dutch actress and model Sylvia Kristel in Chanel, January 27 1976.

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

Bill Gibb was one of the most influential designers in 1970s Britain and his clothes were sought out and worn by the rich and famous. His work always has a high fantasy element to it and he was crowned Designer of the Year in 1970. Much of his work verged on couture and he was unrelenting in striving for perfection. Every piece I bring into the shop is very special and this one is no exception. 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 of a traditional piece and extended and manipulated them to make a new silhouette. I also love how the fabric combines the cherry blossoms print with English roses within the woven fabric to further emphasize his combining of cultures in this set.

The set consists of a very long, slim cut skirt that has a more over-sized cut jacket that sits over it. The skirt is made from two panels that are almost perfect rectangles that are brought in for the waist. This gives it a very linear line from the hip to the hem. It is seamed down each side with  a very high slit running up each leg. This lets you be able to you to walk in it and it shows a ton of leg when you move or sit. Over this is a simple open front jacket. In comparison to the skirt it is cut with a sense of volume and meant to feel more towards the over-sized side of things. The jacket has no front closures and simply slips on to wear. I love how the top of the collar is set so that it kind of flares open at the very top of the neck. The sleeves are long and cut wide. The braiding that runs down them extends the length of them visually and adds a pretty detailing. More braiding runs along the edges of the set and highlight its lines. The fabric is a beautiful bright red silk satin with little cherry blossoms and roses woven through it in a slightly metallic finished thread. This is a rare and absolutely amazing set that is even better in person and is even better on an actual 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 and slips on to wear. I see a tiny touch of foxing on the side of the skirt, a tiny pen mark on the front of the jacket and some slight lines running up the satin on one sleeve. Please see the photos after the label shot. Tagged a vintage UK 8

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

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

Modern Sizing Equivalent: XXS-XS

Item# DD3436

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

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.

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.

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.

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. I have dated this to 1987 after we found a reference photo of a model wearing an Azzaro dress with a very similar shoulder treatments. I love it 

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

Reference Photo: Model in Loris Azzaro, L'Officiel No. 734, September 1987.

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

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

This is 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.

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.

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

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

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

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

Under Dress
Bust: 19" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Bodice: 15" from top of bodice to waist
Skirt: 42" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD1717

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3309

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

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

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

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

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

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

Modern Sizing Equivalent: XS-SML

Item# DD3304

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

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

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

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

Sash: 93" x 20"

Modern Sizing Equivalent: MED-LRG

Item# DD2137

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

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

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

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

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

Shawl: 94" x 43"

Modern Sizing Equivalent: XS-SML

Item# DD3151

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