Vogue's coverage of the Fall 1996 started with a refernced back to his Fall show the year before; "Tom Ford's super sexy Fall 1995 show for Gucci was, as Vogue's Sarah Mower has put it, “one of those hitting-in-the-solar-plexus moments” for the fashion set. Two seasons later, his fall 1996 show had the same effect for a much broader audience, now receptive to Ford’s new/old take on glamour, and tiring of the waif. “People were maybe a little bit too afraid to celebrate hedonism on the runway,” Ford later said. Not so the be-stubbled Texan.Vogue dubbed the show, which closed with showstopping white jersey gowns that nodded to Halston and Elsa Peretti, the “fashion equivalent of a one-night stand at Studio 54.” This coat is the twin of Look 29 and it closed a series of white looks in the show that had a variety of coats topping them. This coat has since become one of the most iconic looks from this collection, after those aforementioned white gowns, and it is gorgeous.

The coat is in exceptional condition and appears to have been worn very little if at all. The style is very much like a menswear piece in its cut and that bit of a twist on gender and power is exactly what often made Tom's work for Gucci so powerful and seductive. The collar is wide and full with a notched front and this gives it that perfect touch of drama. The sleeves are cut straight with a bit of fullness to them. The coat is made from a faux fur that has a wonderful feel and is done in an ivory. The fabric is soft to the touch and moves well once on. The fabric choice let him keep the lines and shape of the coat exactly as he intended them. It has a very men's coat feel to it but softened and with that fantastic fit that Tom excelled at. I also love the way he played on the direction of the 'pelts'. Placing them vertically for the body of the coat for length and then horizontally on the sleeves and collar for visual interest.  The front does up with a double row of Gucci etched buttons. It is easy fitting through the body. The bottom portion of the coat flares out in a soft and easy shape. Pockets are hidden low on each hip. Once this coat is on it has this amazing slouchy cool feel that is just unbeatable. I love it and it is also a remarkable piece of fashion history. It appears to have been worn very little if at all. Excellent condition

The coat is fully lined in a Gucci embossed silk lining with braided cording around the inner edge of the coat. It closes with buttons as shown. The buttons have a Gucci logo etched into them. There is a vent at the back to make it easy to walk. Tagged a vintage Gucci 42

Sleeves: 24.5"
Shoulders: approx 16.5"
Inner bust: to 18-19" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: 22" flat across from side seam to side seam
Length: 49.5" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4452

Reference Photos/Video: Fall 1996 Gucci Runway, Look 29. Model Georgina Grenville.

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

Halston created several versions of these gorgeous Cashmere capes or ponchos between 1970 and 1972. Some had hoods, some were full length, some had closures and then others like this one were a more practical to the knee length and you were able to change the styling depending on how chose to wear it. This is a gorgeous in well-documented piece of fashion history.

The chic soft ivory taupe of this Haslton piece is absolutely exquisite. Its perfect neutral colour will suit most skin tones and it is an easy piece to add to just about any look. It is made from a high end cashmere wool mix. The design is genius in its simplicity and shows what a master cutter Halston was. Off the body it is a simple huge rectangle of fabric with a split down the center at the front and a scoop for the neckline. The split half becomes the front panels and the solid half drapes down the back. Once on the body it seems to magically transform and become a proper evening cape. There are no closures so the cut is open and generous and this will allow it to fit all sizes. It is hard to define it as a true shawl, a poncho or a cape but it is definitely fabulous. You can wear it several ways which I also love. The fabric choice gives it just enough weight to have it sit perfectly once you drape it onto yourself. It is absolutely wonderful in every aspect. I also love that it will work just as well for day or for the evening. Excellent condition with a note below.

Unlined with hand rolled edges. The label was lost on this one at the cleaners a long time ago but I personally saw it before it went there. There are a couple small repairs in the knit hence the price. Please see the last two pictures before the reference photos for the two that show the most. Priced at half what it would be

56" across and 48" long

Modern Sizing Equivalent: OSFA

Item# DD4453

Reference Photos: (1) On Right: Halston ensemble of off white wool, 1970-71 from FIT Museum.  /  (2) Model in Halston for US Vogue, 1971. Photo by Richard Avedon.  /  (3) Anjelica Huston in Halston Resort 1972.

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 incredible dress has it's original tag that appears to indicate that it was a sample from 1998. I have not been able to verify if this dress was produced for the shops or if it remained a one-off sample. If it is the only one that would be an incredible thing to have and even if it was produced it's so utterly beautiful that it would just be adding more beauty to the world if there was more than one. Of course I will continue to hunt for that information and one day I hope to send its new owner verification. Regardless of its production status, the dress is one of the best Valentino pieces I've ever seen.

This is a really stunning dress. And it shows how beautifully Valentino emphasize the female body will always stay completely elegant. The netting treatment on the dress makes you feel like you have been wrapped in the tulle. Underneath, the inner ivory silk taffeta layer gives the dress structure and it makes this beautiful, slight rustling sound when you move. The silk netting over that has a dot pattern over its surface. It is gathered down and along both sides. This creates this fantastic ruching all the way down that highlights your curves. Where it is gathered down both sides there is an elaborate line that has been beaded with two types of tiny black seed beads. The neckline curves around you at the top and then the dress is cut to skim over you with the shape all created by inner vertical seaming. The bottom skirt of the silk ivory underlay has been allowed to peek out from underneath the netting. It flares out and has an elaborate pleated ruffle all the way around. It is cut a little longer at the back and has extra fabric there as well so that you get this bit of a train effect behind you and a little fabulous kicking out of fabric as you walk. This is an incredible dress and one of my favorite Valentino pieces I've ever had in the shop. Excellent condition

The ivory acts as the lining through the body and then the bodice is lined with an additional layer of black silk satin. Lightly boned through the inner built-in bodice. It closes with a hidden set side zipper and the inner bodice piece has its own separate zipper. It has its original tag and appears to have never been worn. Tagged a vintage Valencia 40

Bust: 16.5" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 55" from top of bodice to front hem, 59" to the back hem

Modern Sizing Equivalent: XS-SML

Item# DD4431

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 dress is so good and it isn't even photoing half as good as it is in person. This is one of those pieces that really showcases the higher end work that the label was capable of. The dress is the work of Elinor Simmons who designed for the Malcolm Starr label from the early 1960s to 1972. She excelled at the heavy embellished piece that the label was known for and this is a wonderful example of her work. It is even more amazing in person and the photos cannot convey the impact of the metallic parts and the presence of it. It is gorgeous

This stunning dress is a gorgeous example of the work being done during this time period by them. The best of this label always has lots of drama and impact and this dress has a ton of all of that. The fabric is gorgeous. A heavy dose of a gold metallic thread is mixed into a pattern that combines a beautiful green shade with pinks, soft blues and other colours. The mix of all of these is fabulous. The dress 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 the neck is cut into a low V at the front that meets the heavily embellished waist line. The sleeves are cut so that they widen out as they near the cuffs. At the end of each sleeve is a 3" wide banding that is heavily embellished with gold braiding, paillettes, beads and prong set colored stones. That same heavy detailing wraps around the waist and the waist itself is set a bit higher up to sit just under the bust. The amount of detail in the embellished bands at the cuffs and waist are incredible. They pick up the colours in the dress and add this heavy jeweled element to the piece. The skirt cascades to the floor and widens out quite a bit as it nears the hem. This perfectly balances that shape of the bodice. Hidden pockets sit along the inner seams of the front skirt. There is extra fabric built in along the sides of the skirt and when this is on and you see it in person it has more of a caftan fulfilling through the skirt then how the picture seem. The fabric holds the shape of the dress beautifully and the entire dress has a subtle shimmer in the light. I love it. It is just a beautiful dress. Excellent condition.

Fully lined in a pale green silky rayon and it zips to close at the back. It appears to have been worn very little if at all. Ribbon edged inner hem and hand finishes.

Sleeves: 23"
Shoulders: 15"
Bust: 18" flat across from side seam to side seam
Seam under the bust: 15" flat across from side seam to side seam
Natural waist: 14" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Bodice: 11" from neck to top of the waist banding
Skirt: 47" from top of the 3" waist banding to hem with just under 3" turned under

Modern Sizing Equivalent: SML-MED

Item# DD438

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

This is an incredible dress. This was a dress produced for the shops and it would have been made specifically for the wedding collection that year. What is interesting about this dress is that I have a purple version just listed that is from 2007. So Lee's original design was re-issued in this ivory for the wedding collection. You will recall that I recently had a lace dress in that was also made under the same circumstances where a original dress done by Lee was re-issued at a later date for a wedding collection. I love when they repeat pieces like this. This would of course make an amazing wedding dress for a bride or could be an alternative dress in a more extended wedding celebration. And of course it could also be worn to any fabulous and glamourous event. The dress still has its original hang tags in place and was never worn. It has that same bias cut draped feel as the McQueen that Elle Fanning borrowed and wore recently so that will give you an idea of it onthe body.

This is a stunningly beautiful dress. It is one that will come to life even more once it is on an actual body and will only truly come to life when worn.  It is a dress that definitely takes inspiration from the bias cut couture pieces of the 20s and 30s. McQueen was a master tailor and the seam work and simplicity of this dress do not hide that fact. It is made from a beautifully weighted ivory silk satin that has that same liquid feel that the best of the 1930s pieces did that were made from this similar fabrics. Like those dresses of the thirties this is also cut on the bias but with a more shaped silhouette. I love that the fabric is heavy enough and that the dress is lined so that it will not highlight 'flaws' underneath like some bias cut pieces can. It is cut to flow over the body and skims over the bust, waist and hips to the floor. The neckline drops into a V at the front for a bit of skin to show. It glides over the bust and there is this interesting softly curved seam that starts at the bust and runs down into the side seam. This not not only helps to add a little shape but it also becomes this interesting design feature and a subtle way for him to work in one of his signature angled seams. The skirt continues past and over the hips and then flares out as it reaches the hem. At the back there is extra fabric worked around the center seam to give you a bit of a trailing feel behind you. This flaring out at the bottom and the extra bit at the back give you fabulous movement when you walk or move. It also adds to the hourglass shape the dress has. The sleeves are incredible. They are set in these soft loops around each arm. They leave the sides of the shoulders bare and really add to the thirties feel of the dress. They are spectacular. It is in its original uncut length and was never worn. Excellent condition.

Fully lined in an ivory silk and closes with a hidden set back zipper. Tagged a McQueen 40. The bias cut fabric does have some stretch. The measurements below give you the comfortable range the fabric has when lying flat. It has its original tags attached and was never worn. It is in its original supermodel length. The bias cut should allow it to fit a range of sizes

Waist: to 14" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Length: 62" from top of shoulder to front hem, 75" the longest point of the back hem

Modern Sizing Equivalent: SML-MED

Item# DD4412

Reference Photo: Elle Fanning in Spring 2008 Alexander McQueen, from our archives, at the Critics Choice After Party, January 2023.

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

John has dived into his archives once mnore for me and today I have two of the dresses he sent for you with more to come. This is a runway piece from the early seventies just after he launched his label. The bead work on it was done by hand by Madame Gandini who did beading for many of the Couture houses of the day. John is one of my favorite American designers and right out of the gate he won the Coty Award for his work. The first time in 1972 and then again in 1976. He designed clothes that were simple and elegant but glamorous. His work veers towards minimalism with sharp tailoring. Striking evening wear was his signature and he is renowned for his cutting and tailoring. It is an extraordinary privilege to have pieces directly from his archives and these are things you will never see again. This one might even make an amazing wedding dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. And of course it could also be worn to any event. It is a work of art. 

John's business was all done on a made to order basis. That means the majority of pieces you will find are a one-off, or if there are similar pieces, very few of each piece exist. This personal attention to each dress is clearly seen in the workmanship of his pieces. His work is very expensive and beaded pieces like this sold for over $10,000 even in the 1970s. If you convert that to modern dollars you get to about $68,000 which is incredibly still less then a modern couture pieces done to this level would be. Having this actual runway samples that John pulled from his own archives to share with you is just amazing.

This is an amazing dress that is heavily and densely beaded. The base of the gown is made of an ivory silk chiffon and then onto that are hundreds of vertical chevron bands of a silver coloured glass tube beads laid out in to fully cover every square inch of the dress. The dress is already spectacular on its own and the addition of the thousands and thousands of glass tube beads give the dress an extra layer of texture and glamour. Every square inch of the dress catches the light and sparkles. As a result the dress is fairly heavy off the body. We weighed it and it is almost 10 pounds because of that extensive bead-work. Yet once on the body it perfectly drapes over you in a way that it is balanced and not at all unwieldy. The impact of all those silver ivory toned beads from head to toe is stunning in the light. If you even remotely love it in the photos you will gasp to see it in real life. This needs a body to give it a life of its own and the camera cannot capture just how gorgeous it is and how the beads catch the light. The cut is sublimely simple. The bodice is cut with a V and there is a border of the bead work following the V to highlight it. The rest of the dress falls from there is a beautiful column of beads to skim over you all the way to the floor. There is just a suggestion of the waist and it skims over the hips. The sleeves are long and equally as simply. They widen out as they near the hem and this graceful line of the sleeves with their bordered cuffs is perfection. The back is just one long column of the bead work. The skirt widens out just a touch as it nears the hem. As good as it photoed the effect that this dress has once it is on an actual body is far more dramatic and fabulous. If you even remotely love it in the photos you will dance when you see it in person as it is so much better in real life. It is completely made by hand and you would never be able to find its modern equivalent. It is stunning. Excellent condition with a minor note below.

Fully lined in an ivory silk chiffon and it closes at the back with a metal and nylon zipper. Hand finished throughout. As noted above it has a good weight to it since it is fully beaded from top to bottom with glass beads but feels balanced when on and comfortable. There is perhaps the occasional bead missing here and there - a bit of the top row on the back of the collar is missing - but no bare areas. There is a slight darkening to some of the beads just above the hem. Please see the photo after the label shot. It feels more ivory silver in person.

Sleeves: 22" and 12" around the upper arm
Slightly dropped shoulders: 15.5"
Bust: 16.5" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Hips: to 18.5" flat across from side seam to side seam
Length: 60" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD4398

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

Philip Hulitar designed under his own namesake label from 1949 to his retirement in 1964 so his pieces fall in a very defined window for dating. He was known for his sophisticated dresses and evening gowns. Shortly after the launch of his label a journalist gushed that; 'The star of a gifted designer has risen recently on the fashion horizon'. Prior to launching his own label, Mr Hulitar was the in-house designer and head of the women's dress division for Bergdorf Goodmans for 18 years. His work is amazing. This would absolutely make for an amazing wedding dress for the bride or as an alternative dress in a more extended wedding celebration. And of course it could also be worn to any event. It is just beautiful.

This dress so beautiful to see. The fabric is that rich ivory champagne colored silk that seems to have been done nest during this time period. The cut of the dress is magical. The bodice is fitted and strapless and I love how it has a slight curve across the top of the bodice. Inside it is boned to help to hold the shape that you see. There is a little bow at one side for detailing that is so pretty. It is cut to follow your every curve. The waist is brought in but there is no horizontal seam there to break the eye. Instead it is held in place inside so you just get this beautiful unbroken curve to shape the body. The skirt curves over the hips and then widens out to fall to the floor in a stunning expanse of silk. The entire dress is shaped by the seam and the use of long vertical panels which give the skirt the volume that you see. You cod make it even fuller by adding a full crinoline underneath too. On the front and back are those inset panels of the same fabric bit for the panels they have been hand gathered across. This creates these long and wide panel of intricately gathered silk that run the full length of the dress. I love how they are used to add to the hourglass shape of the dress by being set wide across the bust, coming in at the waits and then expanding out across the width of the skirt. It does the same at the back but in a not so exaggerated way. The back is cut slightly longer for a beautiful sweep of fabric there. It is just a beautiful and rare piece of 1950s couture. Excellent condition with small notes below.

Fully lined in a tea coloured silk organza and closes at the back with a hand set metal zipper. Hand finishes throughout. Boning through the bodice. Beautifully made. The inner lining has a variation throughout that of course does not effect the outer dress at all.  I see a tiny foxing mark on one side of the outer skirt and the edge under the arm has started to give on one side and it is just starting a tiny on the other. These could easily be altered out by reducing the width of the band there a little. Please see the photos after the label shot. The construction throughout is to demi-couture standards. The colour is a bit more ivory then how it photoed. You could easily alter this one down if needed

Bust: to 18" flat across from side seam to side seam with room to a C cup at the front
Waist: 14" flat across from side seam to side seam
Hips: open
Length: 53" from top of bodice to front hem and 62" to the back hem

Modern Sizing Equivalent: MED-LRG

Item# DD4373

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 Oscar de la Renta dress is gorgeous. The Fall 2011 Oscar de la Renta Bridal collection was amazing and this was one of the star looks of the show. His wedding pieces range from about $10000-$20,000 USD with the more elaborate ones like this tending to be in the upper range of that. Oscar launched his first bridal collection in October of 2002 and his wedding pieces have been worn by some of the most famous women in the world. He once said 'In the same manner that she fell in love with that man, I hope she's going to fall in love with that dress.' Countless brides have done just that. This gown is absolutely beautiful and if you are a bride looking for that very full princess feel then this is the ultimate dress for that. It literally takes your breathe away when you see and hold it in person.

The skirt of the dress is magnificent. It is made from many yards of multiple layers of a white tulle silk netting. The strapless bodice above that is a slightly more ivory colour and it is stunning. It is completely covered with tiers of lace and little scalloped silk chiffon rows. I took close ups of the work done there for you to see. The edges of the lace are embroidered and there are tiny curvy rows of ivory iridescent sequins mixed in. If that wasn't enough there are also little rhinestones set in rows over the bodice. The top curves in a pretty sweetheart neckline and it has a full built in hidden corset inside the bodice so you don't have to worry about additional underpinnings. The bust is strapless and fitted across the bodice. It is cut to follow your curves and there are built in hidden cups inside to lift the breasts. It tightly hugs the bodice and then nips in at the waist. The waist is detailed with elaborate appliquéd 'belt' that is made from various faux pearls, silver tube beads and glass cut rhinestones in different shapes. For the runway presentation it was shown with a simple sash and I believe that this was a custom add on. The skirt is extremely full and that beautiful volume would float all around you. There are 12 layers of tulle in the skirt and many of the inner ones have a double hem finish at the bottom. Under all of that there is a silk taffeta inner skirt in a deeper ivory. If you look closely you can see that under the top two layers of tulle the skirt has been gathered up all around in little drapes. This gives it this depth in fullness that is incredible. It's a subtle detail that you can see through those top layers of skirts that is just absolutely genius. I did not add any additional crinolines to the dress for these photos. It has enough built in layers in the  skirt already that it falls on its own perfectly. Every angle that you look at this dress from gives you drama and gorgeousness. It is cut longer at the back so that it flows out behind you when you walk. If you wanted even more of a real princes gown feel I think you could have the inner layers starched and you would get even more volume. I love the bareness of the shoulders the strapless silhouette gives you. It is the perfect balance to that full on princess skirt. It is a very stunning gown and is a beautiful example of Oscar's work. Excellent condition with a minor note below

The bodice is boned with padded inner cups for structure and support. The dress closes at the back with a hidden set zipper. Multiple layers of built in tulle and skirting as described above. The hem of the inner skirt is grubby and some of the very inner layers of tulle have some marks at their hems and i see the very occasional small tear near the hem. You see none of these once on. It otherwise looks to have been worn very little if at all. Tagged an ODLR 8 but seems to be cut small

Bust: 16-17" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam if inner hook is closed 13" if left unhooked or the hooks moved
Hips: open
Bodice: 9" from top of bodice to waist
Skirt: 45" from waist to front hem, 50" to inner back hem and 5*" to the ends of the tulle at the back

Modern Sizing Equivalent: XS-SML maybe a smaller MED

Item# DD4222

Reference Photos: (1-4) Fall 2011 Oscar de la Renta Bridal Collection, Look 5.  /  (5-7) Solea, wearing this dress, for her tribute performance to Evita for PBS Great Performances, March 2023.

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

Vicky Tiel was backed by Elizabeth Taylor as a young designer after working on the costumes for 'Whats New Pussycat'. After a stint with a partner she launched her self named label in Paris in 1970. She as one of the very early boutique owner/designer that offered a ready-to-wear option in Paris. That said, her clothes often walk a fine line between ready-to-wear and couture in terms of their construction and techniques used. By the mid to late seventies her style had developed into the ultra sexy and feminine clothing that she is now known best for. By the eighties and into the nineties, she had a cult celebrity following. This is a stunning example of just how gorgeous and dramatic her work could get.

This is a spectacular two piece set in a ivory silk. It is an early example of Vicky Tiel's talent and ability to work and tailor a pieces while working with very fine fabrics. I love the versatility of having the two pieces. It means that you can mix and match them with existing pieces. The colour of the set lends itself to be a great piece for a potential court or more casual wedding or any other great event. Both pieces very light in weight and the silk is very fine. The skirt is a masterpiece. It is banded at the waist and then there are two tiers of fabric under that. The top tier is completely and meticulously pleated with tiny precise knife pleats. At just about the knee the second panel creates a more ruffled feel to the hem. The pleats on the bottom tier open out as they near the hem. The skirt has a lot of fabric and can be worn with or without a crinoline. I have photoed it both ways so you can see the fullness you can achieve. The jacket has a strong nod to the Victorian era with those amazing puffed shoulders. Each shoulder is very full at the top and then narrows down to the wrist. The waist is nipped in and below that is a feminine little hip peplum. The collar is neat and rounded and it closes with a series of silk covered buttons down the front. It is just a gorgeous little set. Excellent condition with a small note below.

Both pieces are unlined. The jacket closes with silk covered buttons down the front and the skirt closes with a side zipper and flat hook & eye at the waist. Light padding in each shoulder. Hand finished throughout. I see one mark on the skirt and a very tiny one on the top. Please see the two photos after the label shot. It is slightly creamier in colour in person.

Top
Neck: 16" around
Shoulders: 15" across
Sleeves: 25" long
Bust: to 18" flat across the back from seam to seam
Waist: 13" flat across the back from seam to seam
Length: 21" from neck to hem

Skirt
Waist: 12-13" flat across from side to side
Hips: open
Length: 29" from waist to hem

Modern Sizing equivalent: XS-SML

Item# DD4211

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 Capriccio label was founded in 1987 and they quickly grew in popularity. During the late 1980s and early 1990s they were the brand to wear and they were known for their historically based designs with the added volume and excess of the eighties. Some of the Capriccio stores had an in-store area where you could get custom pieces in silks and based on the rest of the pieces from the estate I have been working through lately this may be one of those. It is incredible and it would make an amazing wedding dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. And of course it could also be worn to any event. It is just so spectacular. 

This is actually a set and I love that about it because it makes it that much more versatile. You can wear it together for the full on effect or mix and match either with simpler pieces from your wardrobe for an entirely different feel. I also think there is the possibility that the top could be worn as an ultra-mini depending on how it sits on you. Both pieces are made out of a tea stain feeling coloured silk organza. This fabric choice helps to keep the volume and shape that you see. It also keeps both pieces extremely light in weight. The top is spectacular. It is cut so that it skims down and past the hips and has a back and front draped panel at the center that extends down over the skirt. It is shaped through the waist by the way that the fabric is formed and gathered into the middle. Pin tuck detailing runs from the collar to that panel on both the front and back. Elaborate floral appliqué work adorns the entire front and details part of the back. The collar is high and the top is cut to skim over the bust. The sleeves pouf out dramatically and are caught up with a little clusters of lace appliqué and beadwork. This gives them that extreme full volume feel but they still have a sense of  shape and detail. The lower portion of the sleeves are gathered all along the lower arm to the wrist. Each is then finished with appliqué work all the way down. The skirt below that has incredible volume and fullness. It is cut to be more fitted over the top of the hips and then opens out to that incredible volume that you see. When laid out flat the lower portion under the hips is a full circle skirt. Depending on your height it will be full length or fall to just about the ankle. The amount of detailing on this piece is fantastic. This may not be a piece for everyone but on the right person this is going to be unbelievably spectacular. It appears to have been worn very little if at all. Excellent condition

The top is made from a double layer of the organza and the skirt has an inner cream silky rayon lining. The top slips over the head to wear with pearl buttons at the back of the neck and on each cuff. The skirt closes with a zipper and flat hook and eye at the waist. Rolled padding on the very edge of the inner shoulder to help support the volume. The top is tagged a size small and the skirt a medium. You could get a little more room on the neck by moving the buttons probably up to 1/2-3/4" depending on where you place them.

Top
Sleeves: 23"
Slightly extended shoulders: 16"
Bust: to 19" flat across from side seam to side seam
Waist: to 17.5" flat across from side seam to side seam
Hips: to 26" flat across from side seam to side seam
Length: 36" from neck to longest point at the front and approx 28" to the sides.
Neck: 15" around

Skirt
Waist: 14" flat across from side seam to side seam
Seam at the hips: 18" flat across from side seam to side seam
Length: 42" from waist to hem

Modern Sizing Equivalent: SML-LRG

Item# DD4198

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

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

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

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

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

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

Modern Sizing Equivalent: XS-SML

Item# DD3367

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

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

John Galliano was moved from Givenchy to Christian Dior in October of 1996 and stayed there until he was dismissed in February of 2011. This dress is from the Fall 2007 collection and was a piece that was produced in limited quantities for retail. In the runway we can see similar beadwork and the design used on the upper part of the dress referenced  in look 26 in an shorter orange version. A shorter version in black with a slightly different bodice was also worn by Penelope Cruz when she attended the 2008 Cruise collection show. I have included photos of both of these examples here as it is always interesting to see the progression and variations on a theme that a designer chooses to do.

Vogue raved about the collection saying in part: "If you're getting into the forties this season (and that's definitely one way to go), John Galliano is the man to fulfill those latent Joan Crawford urges, no holds barred. His ready-to-wear collection for Christian Dior was virtually a camp-fabulous Hollywood spectacular—like a pumped-up 2007 remake of The Women (Cukor, 1939; ever a fashion favorite), but this time played out in full glorious purple, pistachio, electric blue, and fuchsia, rather than black and white.' This is one of my favourite Dior dresses that I have had in the shop to date and it is even better on person and on an actual body.

As with many Galliano piece this dress is entirely cut on the bias and it is meant to be on an actual body and not a mere dress form. As good as it looks on the form once on an actual body it will only be better. The dress is made from a rich looking champagne coloured silk satin that in certain light has a slight silver undertone to it. The fabric and the way it is cut and draped allows it to hug the body but without being tight. It skims over the body and highlights every curve yet is very comfortable and easy to move in. Once on an actual body and you start to move in it the dress moves with you. The dress molds itself around the bust and plunges at the front into the squared off neckline. A wide panel of fabric runs down the centre of the body to the bottom of the torso. All of the fabric on either side of that center strip is gathered and hand draped into and under the panel in big soft folds. Then he embellished it with little silver flat metal sequins meant to suggest tiny leaves, hand sewn tube beads and prong set glass crystal rhinestones. These catch the light and add even more glamour to the dress. As the draped silk of the dress nears the bottom of that center panel is starts to open up more into looser folds and eventually falls and expands out into the skirt. The skirt has yards and yards of fabric in it and I love how it is draped around the sides of the hips for shape and volume. It gives you this insane hourglass feel. At the back the fabric is lightly gathered into the zipper so it is fitted on the back and then it falls out to the skirt with a series of panels built into the back for added volume. It then extends out to a short train at the back for the perfect finish. It is one of the most beautiful and glamorous dresses I have ever had in the shop. It is red carpet worthy and would make an amazing wedding dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. It appears to have never been worn or worn very little. Excellent condition

The dress is fully lined with a fine ivory tissue silk. It closes with a hidden set zipper at the back. It appears to have never been worn or worn very little. Tagged a US 8 but cut very small

Bust: 16" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 58" from top of shoulder to front hem, 64" to the lowest point of the back hem 

Modern Sizing Equivalent: XS-SML

Item# DD3875

Reference Photos: (1-2) Dior Runway Show in Prague showcasing Fall 2007 RTW/Resort 2008 pieces. Dress shown worn by Miss World 2006 Tatana Kucharova.  /  (3) Fall 2007 Christian Dior Runway, Look 26. Model: Patricia Schmid.  /  (4-6) Penelope Cruz at the 2008 Dior Cruise Collection Presentation.

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