The twin of this dress was shown on the Resort runway for 2008. In Vogue's review of the collection, journalist Nicole Phelps said in part; 'The grand theater-in-the-round setting for Oscar de la Renta's resort show put some audience members in mind of Chanel's recent presentations, but if there was a designer's influence at play in this beautiful collection, other than de la Renta's own, it could have been Yves Saint Laurent's. Loulou de la Falaise, YSL's longtime muse-turned-fellow designer, was sitting front-and-center (coincidentally, as it happened), and up on the raised platform there were seventies references'. The show was presented the same day as the 2007 CFDA Awards where Oscar de la Renta was nominated for Womenswear Designer of the Year which he won (tied with Proenza Schouler).

This Oscar de la Renta dress is absolutely gorgeous. It is red carpet worthy and would even make an amazing wedding dress for the bride looking for a non-traditional choice. It is in immaculate condition. The dress is covered with a dense application of muted pale ivory gold round paillettes in various sizes. These are set onto the entire dress in horizontal rows from the top of the shoulder to the hem. Running around the the neckline is a dense detailing of beadwork. There is also a scattering of pearls that are set in and among the beads. The dress is made up of three layers. There is an inner ivory silk layer topped by a layer of silk tulle net. Then the very outer layer is made of an ivory silk net and it is on this top layer that that all of the sequins, pearls and beads are applied. The edges of the tulle along the neckline and around the openings for your arm are left with a deliberate raw edge. This same raw edge detailing is also done at the hem. The over-sized sequins that cover the dress vary slightly in size and in their colour. This makes the light catch the dress in a slightly different way as you move and it creates the most lovely effect. Their size creates a more overall glow effect rather then a glitzy sparkle. It is very well made and very beautiful. It appears to have been worn very little if at all. Excellent condition.

Fully lined in a cream silk and constructed from three layers as described above. It closes at the back with a metal and nylon zipper. Tagged a size 12

Bust: 18-19" flat across from side seam to side seam
Waist: 14-15" flat across from side seam to side seam
Hips: 19-22" flat across from side seam to side seam
Length: 59" from shoulder to front hem, 60" to back hem

Modern Sizing Equivalent: MED-LRG

Item# DD2777

Reference Photos: Resort 2008 Oscar de la Renta 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.

This shrug was shown on the runway in a darker colour but I prefer this amazing cream version. Its a little sleeker in feel an the colour feels more elevated to me.  I have held this in my archives for several years now and I think that it is a stunning example of the fur pieces being produced by designers like Valentino during this time period. Fur was well established as being treated like a fabric by this period.  It is made from a soft mink in a pale creamy ivory. In person it has a more creamy feel then how it photoed. The fur is supple and very very soft. What is remarkable is that the curving pattern that you see winding down each arm . The lines all match up perfectly across the back s they go into the sleeves. This gives the shrug an added bit of texture and pattern. To wear it you simply slip it over the shoulder. It has been properly stored and cared for and appears to have been worn very little if at all. No splitting, issues or shedding. Excellent condition

Fully lined in a black and white Valentino printed silk lining. It slips on with no closures. Tagged a 42

Sleeves: 22"
Shoulders: approx 15"
Bust: no defined side seams
Height at back: 14" from top to hem

Modern Sizing Equivalent: XS-MED

Item# S924

Reference Photo: Fall 2004 Valentino Runway Collection, model Malin Persson.

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.

This very beautiful and perfectly cut Haute Couture dress by Andre Courreges. Courreges spent 11 years as a cutter for Balenciaga before launching his own label in 1961 and that high standard of tailoring shows in his garments. Courreges produced Haute Couture right from the start that appealed to the youthquake movement. The lines of this dress are classic for the work that he was doing in and around 1966. He was famous for his 'space age' tailoring and bold forward thinking lines that were far ahead of their time when introduced and still have a lasting impact on current day fashion. The Met Museum holds a similar cut dress from this same time period in their permanent collection.

The fabric on this dress is exactly what you look for in a Courreges piece from this era. The dress is made out of a good weight wool fabric that is structured enough to hold the intended shape he wanted it it have. The wool has a slight texture to it and is done in his favorite color. The seaming is superb and the dress reflects the clean geometric lines that he excelled at. The shoulders are cut high and slightly inset. There is a beautifully curved seam just above the breasts that is set to meet the vertical center seam that runs down the front. This is then repeated at the back. A small horizontal strap is set at the lower back and it buttons into place. The sleeves pouf slightly above the buttoned cuffs and are cut to just above the wrist. The proper Courreges couture label is present and it is entirely made by hand. This is a stunning example of his work during this time period. Excellent condition with a minor note below.

Fully lined in a hand set cream silk. It closes with a back painted metal zipper. The strap set at the low back buttons into place and has properly finished buttonholes. Each cuff buttons to close. I see two pinhead size storage marks on the inside of one sleeve and the slightest of marks on the front and back skirt that are only visible in certain lights

Sleeves: 21"
Slightly inset shoulders: 14"
Bust: 17" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 33" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD2727

Reference Photo: ca. 1966 Andre Courreges Dress at The Met 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 twin of this set walked the runway for the Fall 1977 Christian Dior Haute Couture collection. It was also used in a Vogue editorial and photoed by Roland Bianchini that season. In the 'Dior Catwalk' book, journalist Alexander Fury references this suit specifically in his write up for that season saying; "The designers autumn/winter collections proposed a series of equally glamorous ensembles, including the 'white silk jacquard pants suit with the white fox, white pearls and bareness underneath - a soft white camisole' that Vogue predicted would be the 'sure fire' bestseller that season. Trouser suit aficionado Bianca Jagger was in the audience and 'said she loved everything''. It is exceptional and a wonderful example of the work that Marc Bohan was doing for the house during this time period.

The set is made from a beautiful ivory colored silk that has a secondary pattern woven through it. That pattern is made up of little abstract shapes and I love that every once in a while one of the shapes in that design look like a little heart. The pants are cut with a straight leg so that they have a soft flow to them. Pockets lie along the seams on each hip. The jacket is a simple, almost box cut that ends just at the hip to perfectly balance the line of the pants. It can be worn open like it was shown on the runway or fully closed. I love the clear lucite buttons with their little silver capped tops that run down the front. They are the only embellishment on the piece and give it a subtle bit of glitz. On the front of the jacket there are three top set pockets for detailing. Each sleeve buttons to close and on the runway these were left open and flipped back for an easy feel. This is a true piece of fashion history and an amazing example of Bohan's work during this time period. It is even better in person. All proper Haute Couture labels present. Excellent condition with some small notes to review below.

Both pieces are fully lined. The jacket in a rich cream silk satin and the pants are lined in a slightly lighter version of the same silk. The set is entirely made by hand. The jacket buttons to close and pants close with a front painted metal zipper and hook & eye at the waist. Pockets on the jacket and pants. The pants have a slight line of a yellow mark at the lower front right leg near the hem. The jacket shows slight discoloration under the arms on the inside lining that does not go through. There is the very slightest darkening to the edge of the collar. All minor and it presents as excellent. Please see the photos provided after the label shot

Jacket
Sleeves: 21"
Shoulders: 15"
Bust: 18.5" flat across from side seam to side seam
Waist: 18" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 23.5" from neck to hem

Pants
Waist: 13" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 41" from waist to hem with 2.25" turned under the hems
Inseam: 30.5"

Modern Sizing Equivalent: SML-MED

Reference Photos: (1) Christian Dior A/W Haute Couture 1977 Runway Show.  /  (2)  Christian Dior A/W Haute Couture 1977 Runway Show from the book "Dior Catwalk: The Complete Collections".  /  (3) Photo by Albert Watson, Vogue, October 1977.  /  (4) Photo by Roland Bianchini, Dior, 1977.

Item# DD2793

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

The Nina Ricci Haute Couture house was founded in 1932, at 20 Rue de Capucines in Paris and became one of the most famous couture ateliers in the world. In 1954, Jules-François Crahay, Madame Ricci’s design assistant, succeeded her as Artistic Director. The house’s style became more structured. The signature curves of its silhouette elongated. Designer Gérard Pipart then succeeded Jules-François Crahay in 1964. Throughout the following three decades, his Haute Couture vision celebrated a more flamboyant, bold woman and his ready-to-wear found a loyal following among the most stylish women of the day. This coat is an early example of Pipart's work foe the house and is beautiful.

This coat came out of an estate of an extremely wealthy woman who was a regular couture client during the 1960s. For the 1965 collection Gérard Pipart debuted the side button closure that featured large button closures off to one side, a cloth version of which was photoed on Jean Shrimpton for Harper's Bazaar that year. I also found a reference photo for a similar all fur version. The coat I have here is a wonderful combination of the two. The exterior is a quilted silk that is dyed to a stunning ivory. The fabric is especially beautiful.  It has a 3D puff effect that is not just created by the stitching around the pattern in the silk that you normally see. Rather, different weights and thicknesses of thread have been woven into the fabric to create the design. The interior of the coat is lined a creamy colored sheepskin that makes it warm and cozy. The design of the coat has been centered around simple but structured lines. The front wraps over itself and buttons with one large silk covered button near the arm. The edges of the coat are detailed with a thick padded piping that runs along the front, around the hem and circles around the end of each sleeve. Pockets lie along the seam on each side. It is immaculate in its construction and an absolutely stunning coat. A beautiful example of how refined true Haute Couture can be. Excellent condition with one note to review below.

The coat closes with the button at the front and there is a button and loop to hold it perfectly in pace on the interior as well. The entire coat is lined in sheepskin. Finished to Haute Couture standards and entirely done by hand. It appears to have been worn very little. Pockets along the seam. I see a very small amount of fraying to the fabric around the back collar. Please review the photo after the shpt of the label. The easy cut should allow it to fit a range of sizes.

Sleeves: 20"
Shoulders: 15"
Bust: to 24" flat across from side seam to side seam
Waist-hips: 24" flat across from side seam to side seam and gently widens out
Length: 38" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# C454

Reference photos: Jean Shrimpton in Nina Ricci for Harper's Bazaar 1965, Avedon; Brigitte Bauer in Nina Ricci for Vogue 1965, William Klien. Historical info on the house verbatim from the Nina Ricci website.

I have a small collection of historically important, key designer labelled vintage furs, fur trimmed & feather 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. All fur coats, fur trimmed & feather pieces are final sale

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 lines of this suit are beautiful. It really shows what a master tailor he was and how intricate his work could be. Both pieces are made from an ivory moire silk that has just a touch of the very pale set yellow to it in certain lights. The jacket is heavily embellished with embroidery and a raffia in the same shade of ivory. This monotone approach gives it a rich, luxe feel.  The detailing is down around the pockets above the slit cuffs ends of the sleeves and then there is a full medallion of it on the back. I love that even the silk covered buttons that close the jacket have embroidery work on them as well. The jacket is sleekly cut with lightly padded shoulders and long sleeves. The waist curves and nips in and the hips are cut on a structured rounded curve that is quite beautiful. The skirt falls to about the knee in a simple and chic pencil shape with a banded waist. Everything about the cut and line of the suit is done to allow that wonderful jacket to take center stage. This would even make a lovely wedding suit. Excellent condition with a small note to review below

Both pieces are fully lined in an ivory silk. The skirt closes with a hidden set zipper and hooks at the waist. The jacket buttons to close and has padding in the shoulders. I see one pinhead dot on the back of the skirt and some of the raffia at the very front has a slightly crushed feel to it. It feels immaculate when you look at it.

Jacket
Sleeves: 24.5”
Slightly inset shoulders: 14.5”
Bust: 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 28" from neck to hem

Skirt
Waist: 13" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 23.5" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3492

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 Roberto Cavalli dress is from the Spring 2006 collection and is very sexy. It's twin walked the runway that season and was worn by Carmen Kass. I have included that reference photo here so you can see how amazing it is once on the body.

It is an easy to wear piece and very flattering once on the body. It is very short and I think you could easily wear it as a tunic as well if you are not brave enough to go that short for a dress. The crispness of the white cotton and that deep front and back plunge pack a lot of punch into the design. The lines are simple and despite its overt sexiness it is surprisingly comfortable to wear. There are long, long ties that go through the dress under the bust and these can be loosened or tightened as needed. I have tied them into bows so they are like how it was shown on the runway but you could also leave them looser and hanging. There is a wide band of elastic at the hips that stretches for the perfect fit. Each sleeve is very full and cut very long with two bands of elastic. One just above the elbow and one above the huge double layered bell cuffs. This allows you to push them up or down to get the most volume through the sleeve and adjust the length. It is fabulous. Excellent condition.

Unlined and slips over the head to wear with ties at the waist to adjust the fit. Tagged a 40. Appears to have been worn very little if at all.

Sleeves:28"
Shoulders: no defined seam
Bust: 16-18" flat across from side seam to side seam
Waist: ties to adjust from about 12" to probably over 17" flat across from side seam to side seam
Hips: will stretch up to 20" flat across from side seam to side seam
Length: 31" from top of shoulder to hem but will come up when on

Modern Sizing Equivalent: SML-MED

Item# DD3488

Reference Photo: Spring 2006 Roberto Cavalli Runway Collection, Look 2, modeled by Carmen Kass.

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

From the Spring 1994 collection comes this iconic printed beach towel featuring a mix of some of the most well known items that have come to represent the Chanel brand. The twin of this particular towel was shown on the runway wrapped around Carla Bruni, it also appeared in the Lookbook for that season and was shot for Vogue. The outer border and the entire back of the towel are white, and the background behind the printed parts is a more creamy color. It is made out of 100% cotton printed terrycloth. Perhaps the slightest loss of crispness to the white of the back but very minimal. Excellent condition

Measures 38.5" x 58.5

Item# A375

Reference Photos: (1) Spring 1994 Chanel Runway, Carla Bruni, Look 85.  /  (2) Image from the Spring 1994 Collection Lookbook. / (3) Nikki Taylor and Claudia Schiffer. (4) Naomi Campbell and Carla Bruni. Both images for Vogue, 1994. Photographed by Steven Meisel.

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 was one of the key pieces from the 2015 season and it is brand new with its original tags still attached. It was look 15 on the runway and all of the pieces from that collection with this graphic stripe were sold out and wait listed around the world. The skirt is a slim cut with a smooth fit around the waist and hips. It is meant to sit a little low on the hip so the waist is cut more generously. I love how the stripes are set to highlight the cut of the skirt. He uses two different stripes to achieve the look that you see. The main stripes through the body are a deep black and the stripes that are set around the waist and highlight that amazing and sexy cut out slit at the front are a more charcoal grey. This is a classic and as covetable now as it was when it first hit the racks. Excellent condition.

Partially lined through the waist band and unlined below. A pocket on one hip that is still tacked shut. Closes with a side set zipper. Tagged a 38. Has all its original tags including the Net-a-porter return tag. Unworn

Waist: 14" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Length: 24" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# S911

Reference Photos: (1) Spring 2015 Altuzarra Runway, Look 15. Model: Magdalena Jasek.  /  (2) Sienna Miller in Altuzarra, 2015.

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 was a key piece from the 2015 Balmain Resort collection and its twin was Look 29 on the runway. The skirt has never been worn and it still has all of its original tags. This collection created a frenzy for the pieces offered and this skirt in particular sold out and was wait listed world wide. It has that curved and fitted cut that Balmain is known for and has the added dimension and texture created by what it is made out of. The black and white stripes that you see are a raffia feeling material that is set in horizontal rows. This gives the skirt an extra dimension and depth that it would not have otherwise. It is cut to sit high up on the waist and is fitted to hug your hips. At the back is the signature Balmain chunky zipper. It has all its original tags still attached and has never been worn. Excellent condition.

Fully lined with their signature black ribbed fabric and closes at the back with the zipper you see. Tagged a modern 40. All original tags attached including an attached StyleBop return tag. Unworn.

Waist: 13" flat across from side seam to side seam
Hips: 17.5" flat across from side seam to side seam
Length: 23" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# S913

Reference Photos: (1) Resort 2015 Balmain Collection, Look 29.  /  (2-3) Erica Pesolini, Paris Fashion Week, Fall 2015.

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

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

Marked a brand size 3 and measures 27" from end to end of the actual belt part and then the braided ties extend a 21" on either side. The total length including the ties is 69". The belt itself is 2.5" wide. Perhaps a touch of grubbiness to the braiding but no true flaws

Item# A374

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

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

This is a more recent Louis Vuitton jacket that looks and feels like it was worn very little if at all. It is made out of a single layer of a light weight wool jacket that has the feel and weight of a light blanket. It has two designs to it. Once side is a more even colored ivory tone and the innermost side is more of a check. It is cut to land just at the top of the hips with a slight curve in at the waist so that the flares out a touch over the hips. The sleeves are cut to just past the elbow. The collar is notched and I love how they have used the inner side of the fabric for the collar and to edge the pockets for contrast. It buttons at the front with a double row of buttons embossed with the LV name. All the edges are finished with a soft fringe. Excellent condition

Buttons at the front as shown and unlined. A working, functional button on each sleeve. Tagged a 42 and appears to have not been worn of worn very little

Sleeves: 15"
Shoulders: 15"
Bust: 20" 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: 23" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# S905

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 the Vogue review of the Fall 2009 collection they noted that Karl Lagerfeld titled the Fall 2009 collection Belle Brummell (inspired by Beau Brummell) ... 'a gender-reassigned quip referring to the British Regency dandy who dictated men's fashion by tying his cravats in ever more elaborate configurations. The pun also gave full permission to bring the classic Chanel white georgette blouse into play, a perfect device for subtracting the austerity from black in a distinctly Rue Cambon manner. Lagerfeld worked it every which way, in bouclé, lace, knit, satin, and paillettes.."

This jacket embodies that feel with its high glamour and decidedly elaborate configuration. It is made out of a pale putty colored mohair that is a fine and light as gossamer. It seems to weigh mere ounces when you hold it and yet it somehow manages to retain the structure and volume he intended it to have. The body of the jacket is more loosely woven and finished with a fine scattering of fringed detailing. This gives it texture and dimension but without any weight added. The sleeves are incredible and each is a cascade of ruffles overlapping each other. These are even more incredible when you realize that the ruffles are formed from one long swath of knit that has been hand set onto each sleeve in a curving design that wraps down the arm. I have lifted one part of the ruffle and photoed it for you to be able to see just how incredible the workmanship is to achieve this final look. On addition there is silk tulle inset into each sleeve to help retain the shape and volume you see. At the neck is a long black silk satin tie that gives it that perfect Chanel finish and contrast. It is magical and looks to have never been worn or worn very little. Excellent condition

Unlined and slips on the wear. Ties at the neck. Tulle inset into teach sleeve so hold the shape and volume. Hand finished throughout and hand knit. Tagged a Chanel 38. It appears to have never been worm or worn very little. The easy cut should allow it to fit a range of sizes.

Sleeves: 20" to the cuff and 25" to the longest point of the overlapping ruffle
Shoulders: 15"
Bust: to 22" flat across from side seam to side seam
Waist: to 23" flat across from side seam to side seam
Hips: to 25" flat across from side seam to side seam
Length: 20" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# DD3457

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

Pauline Trigere launched her label in 1942. She had moved to the US from Paris in 1937 and her designs always have that bit of a French feel to them. By 1949 she had been awarded a Coty and won one again in both 1951 and 1959. The 1959 win coincided with being inducted into the Coty Fashion Hall of Fame. She as a pioneer in the use of cottons and wool for evening, In 1961 she made headlines for being the first major fashion house to use amply an African American model. The 1972 collection used variations of the floral motif all through it and I believe that this dress us from the spring of that year.

That gorgeous dress has a kind of abstract rope print that helps to add to that wonderful black and white contrast that you see. For the bodice, the fabric is a fine semi-sheer silk that has a ribbon effect running through it that gives it another dimension. The skirt is the same but the parts between the ribbon finish are more opaque. The fabric choice gives the dress a wonderful soft feel that is on contrast tot eh string black and white pattern. The touch of transparency in the top combined with setting it over the inner white lining also gives it a bit of added depth. The top is cut to sit loosely over the bust. There are small gathers along the shoulders for a little bit of detailing and the neckline is set square and wide across. I think you could easily wear the sleeves off the shoulder if you wished. The sleeves are cut to billow above their elastic cuffs. The waist is seamed and below that the contrasting skirt falls in a column of fabric to the floor. I love the two big pleats set on either side that add a touch if interest to the way the skirt sits. This is one of those pieces that may look like nothing special off the body or on the dress form but once it is on an actual body it comes to life. It would look even better belted. Excellent condition with one small note to review below

Both pieces are lined with a semi-sheer silk, white for the top and black for the skirt.  The sleeves are unlined and purposely attached at the top of the shoulder only. It closes with a metal and nylon zipper at the back. There is the teeniest of discoloration to the fabric at the small of the back. Please see the last photo after the shot of the label . It photoed darker then it is in real life.

Sleeves: 19"
Shoulders: no true seam
Bust: to 19" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Bodice: 16" from shoulder to waist
Skirt: 41" from waist to hem with 4" turned under the hem

Modern Sizing Equivalent: SML-MED

Item# DD3434

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

Guy Laroche began working for Jean Desses in 1949 and eventually launches his own Haute Couture label in 1957 at 37 Avenue Franklin Roosevelt in Paris. He was known for being gracious and humble and eventually ventured into ready to wear in 1961. This dress is from his Haute Couture label and is even though it is not perfect, it is a beautiful example of the work he was doing in Paris at the height of his career. Laroche once was quoted as saying "“It is my intention to try and adapt haute couture to modern requirements: to make dresses that are simple and chic.” 

The dress is very beautiful and of course made to exquisite standards. It is entirely hand made and bears the Haute Couture label. It is made out of a heavy ivory silk. The cut of the dress is simple. The neckline is cut wide across so that you get just a glimpse of the top of the collarbones. The sleeves are to the elbow and are cut wide and straight. There is just the suggestion of shape through the waist and then it falls to the floor in a gently widening curve. Inside the hem the skirt is weighted so that it always falls perfectly and this also helps to hold the intended shape that you see. The entire bodice is densely covered in a combination of tiny black seed beads and large black paillettes. These are set on 3 dimensional loops that cover the upper shoulders and sleeves and then gradually become more of a flat embellishment and are spaced out more as they reach the waist area. Because of the way they are set onto the silk these have a ton of movement so when it is on and you move they have a real tactile quality to them. At first glance the dress seems to be in great condition and it is structurally sound but it does have scuffing and light marks throughout. I have included lots of photos after the label shot. Even with the small flaws it is an incredible example of couture being produced at this time period. Good overall condition

Fully lined in a white silk organza through the bodice and a silk through the skirt. It closes at the back with a hand set fine painted metal zipper. Weighted hem and completely made by hand. Haute Couture label preset. Scuffing, light foxing and small water marks throughout. Please review the photos after the label shot and read the description above.

Sleeves: 15"
Slightly dropped shoulders: 16"
Bust: 18" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 54.5" from top of shoulder to front hem, 56" to back hem

Modern Sizing Equivalent: SML-MED

Item# DD3432

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 such a pretty and romantic piece by Rosie Assoulin. It is from the Resort 2018 collection and was look 32 in the presentation. The original price on this was was just under 3k. This one has never been worn and still has its original sales tags. It would make a love garden party dress or even a wedding dress for a bride who does not want to go the traditional route.

The dress has an asymmetrical feel and is cut to spiral down and around the body. It shows Rosie's quirky sense of design that still manages to be refined and elegant. There is a reason why the top stylists in the world source from Rosie's work on a regular basis for their clients red carpet appearances. The bright flowers that cover the entire dress were inspired by bodega flowers—specifically, the paper wrappers that come with the blooms. Hence the 'Say it with flowers' slogan found at so many New York bodegas and now printed onto the dress. I love that it is printed in several ways. It runs over the straps that curve around the shoulders and throughout the base satin finish fabric. More flowers and that same slogan are printed across the silk chiffon panels that flutter over one shoulder and then down and around the body to the hem. The flowers that you see are a combination of direct printing onto the fabric and velvet flocked parts to give a touch of texture and an extra tactile sense. It is an easy to wear dress and makes the prettiest statement. I love it. Excellent condition

Fully self-lined in white through the entire dress. It closes with a hidden set zipper. Light boning on the sides of the bodice. Pockets hidden along the side seams. The shoulder straps seemed to be cut a little long on  my dress form but they could easily be adjusted if you found that on you as well. Original price/hang tag attached and it has not been worn. Tagged a modern US10

Bust: 18.5" flat across from side seam to side seam
Seam under bust: 16" flat across from side seam to side seam
Natural waist: 18" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Bodice: 13.5" from top of shoulder to seam under the bust
Skirt: 46" from seam under the bust to longest point of the hem

Modern Sizing Equivalent: MED-LRG

Item# DD3428

Reference Photo: Resort 2018 Rosie Assoulin Collection, Look 32.

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

Surprisingly, this Azzedine Alaia dress is from one of his more recent collections despite its nod to some of his more classic work. He actually did a very similar dress to this in the 1990s with a slightly different woven pattern. It is made from ribbed and patterned knit in a stark white. This lies over a nude colored inner sheath so that it appears that you are wearing the knit over your bare skin. This inner lining is a stretch knit that hugs and molds to your body to help hold things in place and create a smooth line for the dress to fall over. As with all Azzedine Alaia pieces, this dress is cut to hug and highlight your every curve. The workmanship and the fabric is the best you can get and I love the saucy, flippy little skirt at the hem that finishes the dress with its feminine ruffle. A V neck at the front and no sleeves are the perfect balance to the long, supermodel length. This still has part of a Barney's tag attached and has never been worn. This is classic Alaia and a play on an earlier design he made famous in the nineties. Excellent condition.

Fully lined in a nude lingerie weight jersey. It slips on to wear with no closures. Tagged a modern Alaia 38 but has lots of stretch so should accommodate a range of sizes.

Bust: will stretch to about 18" flat across from side seam to side seam comfortably
Waist: will stretch to about 15" flat across from side seam to side seam comfortably
Hips: will stretch to about 18" flat across from side seam to side seam comfortably
Length: approx 62" from neck to hem

Modern Sizing equivalent: XS-MED

Item# DD3423

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

Ferdinando Sarmi was an actual Italian Count and started his design career working for the Elizabeth Arden couture salon during the 1950s. In 1959 he ventured off on his own and launched his label. He designed for just over a decade before closing up shop. During those ten or so years he was known for his evening wear especially. The fabrics he chose were often opulent or very difficult to work with. This dress is very similar to the one photoed for Vogue in 1961, just with a different fabric design.

I love this dress. The volume through the skirt is expansive and the fabric choice is wonderful. Using the silk chiffon for the dress gives it a feeling of lightness and fantasy as it floats around you once on. You can get a sense of just how much movement it has in that wonderful photo for Vogue. The silk has a hint of transparency to it that gives it an interesting visual effect when the floral design falls over itself as the silk moves. The bodice is cut strapless and fitted and the silk there is gathered across the bust. The waist is accented with a large deep green silk bow at the front. From there the skirt gently widens to a beautiful fullness in a cascade of silk. It is very light and airy feeling when on but inside the construction is immaculate with a fully boned corseted foundation to keep it perfectly in place. I love the romantic feel of the floral print that covers the dress and the soft pastels are wonderful. Excellent overall condition with notes to review below

Fully lined in a pale yellow silk through the skirt and the bodice is finished in silk with an inner corset made of a cotton net. It closes with a back, hand set painted metal zipper. Hand finished. Fully boned inner bodice. Made to demi-couture standards. There is a watermark in some areas down the front and there are repairs and grubbiness to the hem in areas. Because of the amount of fabric through the skirt you would never notice these once on. Please review the photos after the label. Marked well below what it would be otherwise regardless

Dress
Bust: 16" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: 6.5" from top of bodice to waist
Skirt: 45" from waist to front hem, 40" to back

Modern Sizing Equivalent: XS-SML

Item# DD3394

Reference Photo: Model on left in Sarmi dress, model on right in Scaasi, Vogue, February 1961. Photo by Bert Stern.

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

The Swash Buckler top is from the Fall 2017 Rosie Assoulin collection. On the runway this same print was shown on the finale gown. These tops were a hallmark of the collection and their high drama is an easy way for a modern girl to step out in the evening and be able to pair it with pants or a skirt and still get a high glamour feel. The top is an amazing feat of proportion and cutting. The front has a v-neckline with loose ties at the neck. This tops a curved yoke and then the body of the top flares out under that. The fit through the body is relaxed and the sleeves are cut into fantastical bubble sleeves. They are set low on the sides and then pouf out and are cut on a curve so that they follow the arm and maintain the same pouf from the shoulder to the cuff. The cuffs are cut extra long and slit so that you can wear then unfolded and over the hand or flip them up. The back has a ton of volume and the choice of the fabric keeps it light and airy in feel. I love it. Excellent condition

It is constructed from a double layer of the organza. It slips on to wear with ties at the neck. Each cuff has two silk covered buttons and loops to close. Tagged a modern brand size S but the cut is very generous so it should fit a variety of sizes.

Sleeves: 27" from shoulder to longest point of cuffs
Shoulders: approx 16"
Bust: to 19" flat across from side seam to side seam
Waist-hips: open
Length: 28" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# S898

Reference Photo: Rosie Assoulin Fall 2017 Collection, Look 41.

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 and jacket set that would be from when Marc Bohan was head of the Dior atelier. It is a beautiful and early example of the work being produced by Christian Dior in this time period. This is the Christian Dior - New York label and is considered to be demi-couture from this time period of Dior's history. These where made for the American market based on the runway designs and with many of the same high standard finishes that Haute Couture pieces incorporated.

This set is just spectacular. It has a simple, refined cut that is made glamorous by the wonderful fabric choice. The fabric is a beautiful wool silk that has a touch of weight to it so that the lines are perfectly held. It has a cream base with squares running over its surface. Each is a peach outline that then has a gold and peach medallion in its centers. In person the peach is brighter and better. The metallic gold lame thread is slight raised up from the fabric so it gives a touch of dimension besides the shine. These cover every square inch of the fabric. It is made of two pieces. The inner dress is a simple sheath that is cut so that is skims over the body and slightly flares out as it reaches the hem. It is sleeveless and the neckline is a simple scoop. It comes with a gold metal and rhinestone chain belt that slips through the loops that run around the low waist and then the belt hooks. The belt is real metal and has crystal detailing set along every 4 inches. I love how it ends in a gold tassel that dangels down under where it hooks. Over this is a little matching jacket that is sheer perfection in cut. It has a neat little collar and box cut. There are no closures and it is the perfect finish once it is popped over the dress. What I love about it is that when the dress is worn on its own it has that touch of a mod feel that the sixties were all about but once the jacket is on it has a very refined feel. Excellent condition with a small note below

Both pieces are lined in a heavy cream silk crepe with an additional silk chiffon interlining through the dress. The dress closes with a had set, hidden zipper at the back. The jacket slips on with no front closures. The belt hooks to close. There is a slight grubbiness to the lining of the inside back collar  of the jacket and one very minor nick out of the fabric on the jacket. Please see the photo after the label shot. . Otherwise the set appears to have been worn very little if at all. Hand finished and very well made to demi-couture standards.

Jacket
Sleeves: 22"
Shoulders: 15"
Bust: 19" flat across from side seam to side seam
Waist: to 18" flat across from side seam to side seam
Length: 19" from neck to hem

Dress
Bust: 17.5" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 38" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD3357

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 Pierre Balmain Haute Couture dress is a stunning and very rare example of what the house was producing during this time period. It is true Haute Couture and has been entirely made by hand to Haute Couture standards. I had originally dated it to the Fall 1954 collection but after posting it was sent the image of Renée Breton wearing the full gown length version for Spring 1956. I have left the earlier images as I found it interesting to see how his design progressed to get to this 1956 style and thought the person buying it might as well. You can see the resemblance to the  Fall 1954 "Ecume" dress combined with elements from the "Clorinde" dress from that same season and how these eventually become the silhouette you see here. There is also an even closer resemblance to that famous photo of the model and dress captured back stage by Mark Shaw that season. You can easily imagine how this dress was created through the seasons from the different elements of these and Balmain tweaking the details with the end result being this beautiful piece.

The dress is constructed from a hand made ivory Chantilly French lace that is outlined with a fine silk cording. The cord has been meticulously hand applied to the lace. It follows the outline of, and defines each delicate motif within the lace's pattern. The lace portion of the dress begins just under the high and defined waist and the entire lower portion of the exterior layer of the dress is done in that stunning lace. I love how at the very hem the lace edges have been meticulously hand stitched into a silk organza so that the hem is perfectly straight. The bodice is kept with a more simple silk jersey fabric to contrast the high level of workmanship that the lace has. It is strapless and the cups are shaped and molded underneath the jersey. The silk has been is hand draped so that is sits  in soft folds over the bust. The folds are set on a slight angle and one section in the middle has been used to create a wide open loop. Through that opening winds a wide black silk taffeta sash that drapes down at the front to follow the curved angle of the bust line and then ties at the back. I have tied it into a more formal bow but you could also leave this to trail down the back. The use of the contrasting black ribbon adds both a simple and romantic touch and also visually cinches in the waist area even more then the interior corseting already does. The skirt billows out to a beautiful fullness beneath the tapered in waist. The shape and fullness that you see is built into the skirt through layers and layers of silk netting and tulle underneath. The inner construction of the dress is absolutely exquisite with a boned and corseted interior made entirely made by hand and to Haute Couture standards. Under the skirt there are a three full layers of silk tulle and netted underskirts to achieve the shape that you see. I did not add any additional crinolines here but you could create an even fuller shape by adding a separate underskirt if you wished. It is a beautiful example of the very early work that the House of Balmain was doing and a wonderful example of the golden years of Haute Couture. Excellent condition with some small notes to review below.

Fully lined in a ivory silk with extensive boning, inner construction and skirting. It closes with an intricate combination of the Balmain signature, multiple chest and waist stays and two zippers. One to close the inner corset and the other to close the exterior dress The inner layers of the skirt are attached with some having addition half layers at their hems for additional volume. The innermost skirt is interlined with netting and the built in corset is made of lingerie netting and hand done padding. It is boned with metal boning. There is perhaps some very minor darkening to the lace here and there. Very small areas here and there of darkening to the inner bodice. On the exterior bodice there are areas of light yellowing that run across the sides. It is very faint and once on I think you would never even notice it as they are across the fabric and in the folds mainly. None of this compromises the strength or integrity of the dress and it is strong and wearable with the care. All of the photos to show the stunning details of the dress are before the shot of the label and the shots to show the sides of the bodice mentioned above are after the label shot. It really is in remarkable condition. Proper Haute Couture label and tape underneath, though the writing on the couture tape under the label has faded to almost nothing.

Bust: 15" flat across the back from side seam to side seam with cups built in that would fit an A or smaller
Waist: 11.5-12" flat across from side seam to side seam
Hips: open
Bodice: 5" from top of bodice to seam under front cups
Skirt: 36" from seam under the cups to hem

Modern Sizing Equivalent: XXS-XS

Item# DD3344

Reference Photos: (1) Renée Breton in Pierre Balmain, 1956. Photographed by Georges Saad.  /  (2) Model Ann Farrar in Pierre Balmain A/W 1954-55 "Ecume" Dress. Photo by Philippe Pottier.  /  (3) Backstage at Balmain, 1954. Photo by Mark Shaw.  /  (4) Marie-Thérèse in an evening dress called "Clorinde" by Pierre Balmain, Fall/Winter 1954-1955 Collection.

This garment is sent in clean, as found condition and is odor free. Thoroughly checked over before shipping, it will be ready to wear upon arrival.

George Stavropoulos was known for his evening wear and his signature looks focused on cut and fabric to convey the beauty of each piece. He launched his label in 1960 and soon was dressing women like Elizabeth Taylor, Jackie Kennedy, Barbra Streisand and Maria Callas. His dresses were made by hand and to couture standards. By the early 1980s a gown by him started at around $8500 and they went up in cost from there - that starting price point equals to around $26,000US in today's dollars. So when you buy a vintage Stavropoulos piece you are getting incredible value for your money. The only reason his work is not under the actual Haute Couture category is because he was not an official member of the association.

This came from the estate of a woman who was a personal friend of George Stavropoulos and the set was custom made for her. It is incredible and you are really getting two couture level garments that you can easily wear as a set or separately. Very fine, high end silk was used to create both pieces. The silk that was used is very fine tissue silk in the perfect ivory. It has a stunning metallic gold thread embroidered and woven directly into the silk that forms borders, panels and the scattered motifs that you see. All of these are placed to highlight the design and cut of each piece. As a result is has an exotic Indian sari feel to it that has been westernized to combine the two ideals perfectly. Pieces were still being made specifically for the Western market and designers like Stavropoulos were using the beautiful, traditional silks that were now available. The dress is cut with a single shoulder that is made from a panel of the gold that runs up the side of the dress. The bodice is fitted with a hidden more structured interior. The waist curves in and then the skirt falls under that mixing the cream and gold parts beautifully. The jacket is cut to be oversized with just past the elbow sleeves and a loose cut. It is full and has lots of volume.  It is so well made you could flip it inside out and wear it. I love the contrast between the volume of the coat with the fitted dress underneath. It is beautifully made and very light. Excellent condition with a couple of minor notes below

Both pieces are fully lined in an ivory tissue silk. The dress closes with a back, hand set painted metal zipper and the jacket has no closures. The interior of the bodice is shaped and boned. All hand finished throughout to demi-couture standards and beautifully made throughout. On the dress I see the tiniest ares of fraying along the top of the fold near the one shoulder panel. There is the slightest of yellowing to the silk on the other side but it really only shows in certain lights and barely even then. The gold thread used has real metal in it and this has tarnished slightly over the years. Please review the final four photos after the label shot. The coat is pristine. I will also include a matching scarf that is not photoed. It has hand rolled edges and measures 77" x 16"

Dress
Bust: 17.5" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 41" from shoulder to hem

Coat
Sleeves: approx 19"
Shoulders: no true shoulder seam
Bust-hem: 24 widening to 29" flat across from side seam to side seam
Length: 42" from neck to hem

Modern Sizing Equivalent: SML-MED for the dress, The coat is OSFA

Item# DD3316

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 three piece set is gorgeous and has the added benefit in that you can mix and match all the separate pieces with other things in your current closet. The label on the sweater tells us that it was hand beaded in Hong Kong and the hand work is easily apparent where you can see the back. At the time, Hong Kong was doing the best sequin and bead work in the world outside of the specialty ateliers in Paris. The skirt and sleeveless top are matched and the sweater is done in a contrasting pattern. The base of the top and skirt is a creamy ivory silk satin of very good quality. The top zips up the back and is completely covered with a pattern of flowers and leaves. The edges have a cord created of tiny seed beads mixed with little round gold beads. At the hem strands of seed beads dangle all the way around with each strand finished with two gold beads. The skirt is cut sleek and narrow with the same gorgeous bead work down all the way around the bottom portion of the hem. The sweater is cropped and has a contrasting patterns all around its edges, around the shoulder and detailing the sleeves. The same beads have been used for the sweater that were used on the skirt and top, so the piece are tied all together. It is gorgeous and far better on an actual person then the dress form. Excellent condition with a couple of minor notes below.

All three pieces are fully lined in a hand set, ivory tissue silk. The skirt closes with a metal zipper and flat hook & eye at the waist. The top has a hand set zipper at the back that can be completely opened. The sweater closes with a series of hook & eye down the front. All three pieces appear to have been made and finished primarily by hand. There is perhaps the teeniest touch of pressing over the seams of the skirt. There is some grubbiness at the inner silk lining of the sweater at the neck, under each arm and a spot on the inner edge of the front. all of these could be eliminated by removing the silk lining as the sweater itself is fabulous. Please see the label pic and the two following photos for these areas. It is priced as the top and skirt with the sweater included at no charge

Sweater
Sleeves: 17"
Shoulders: 15"
Bust: to 20" flat across from side seam to side seam
Waist-hem: 18" flat across from side seam to side seam
Length: 19.5" from neck to hem

Top
Bust: to 18" flat across from side seam to side seam
Waist-hem: 16.5" flat across from side seam to side seam
Length: 20" from shoulder to hem including 1.5" bead fringe

Skirt
Waist: 13" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 24" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# D612

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

George Stavropoulos was known for his evening wear and his signature looks focused on cut and fabric to convey the beauty of each piece. He launched his label in 1960 and soon was dressing women like Elizabeth Taylor, Jackie Kennedy, Barbra Streisand and Maria Callas. His dresses were made by hand and to couture standards. By the early 1980s a gown by him started at around $8500 and they went up in cost from there - that starting price point equals to around $26,000US in today's dollars. So when you buy a vintage Stavropoulos gown you are getting incredible value for your money. The only reason his work is not under the Haute Couture category is because he was not an official member of the association.

This dress has the most unusual and wonderful fabric treatment that has been applied onto its surface. Hundreds and hundreds of little embroidered white triangles of fabric have been applied to the dress to cover it from shoulder to hem. These are sewn onto a fine white silk netting and then that is layered over an inner, more ivory toned, silk crepe. This play on tone give it more depth and visual interest. The triangles are set onto the fabric so that parts of the points flutter off the fabric, giving them a 3D quality. The actual dress under that amazing applique work is quite structured. The bodice has slim sleeves that taper in from the shoulder as they reach the ends, and the neckline is cut wide and squared off at the front. The shoulders have very light padding and they are set so they have a bit of high capped feel to them. At the back it is slightly scooped. The dress follows the body with has vertical seaming that bring it on at the waist a touch and then it falls to the floor. A high back vent is the perfect finish and gives a glimpse of leg. Excellent condition

Fully lined in an ivory silk crepe and closes with a hand set, painted metal zipper at the back. Light padding in each shoulder. Very well finished. In person it has a touch more of an ivory tone to the base.

Sleeves: 22"
Shoulders: 15"
Bust: to 19" flat across from side seam to side seam
Waist: to 17" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Length: 58" from top of shoulder to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3282

Reference Photo: 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.

I am very pleased to begin presenting a collection of Bill Blass pieces from a woman who was a close personal friend of Mr. Blass for many years. Many of these pieces were custom made or tweaked specifically for her and all of them are in exquisite condition, having been stored and cared for properly over the years. These are rare and hard to find example of his work from the late 1970s and into the 1980s. Some may be the only version of its kind that were made. The family would also like it to be known that their portion of the proceeds from each sale will be donated to charity. 

The crepe fabric on this late seventies, early eighties dress is the perfect choice for it to fall and drape perfectly once on the body. The fabric has just enough weight so that the drape down the front is perfectly executed, but it is still light enough to feel extremely comfortable once on the body. The simple yet dramatic cut has that nod back to the glamour days of Hollywood that you see in his best pieces. The interior of the bodice is has a concealed inner separate panel that is lightly boned and meant to hug and support the bust so you can go completely bare underneath. Straps made from the  same fabric extends from the center of the bust and curve up and around the neck. From the center bust the dress drapes down and around you, curving up at the front allowing for an unexpected flash of leg when you move and down to a longer length at the back. This then tops a second layer of fabric so that the dress falls to a full maxi length. A slit runs up the front so that you get a flash of leg when you move. It is simple, sexy and perfect. Excellent condition with one minor note below.

The bust has a full built in foundation that is lightly boned and closes with its own front set zipper. The exterior layer of the dress closes with a front hidden set zippers that is set along the front middle seam, disappearing under the draping once on. Hand finishes. The ends of the ties are weighted and hand finished. I see one tiny storage mark on one hip. Please see the photo after the label shot. It also comes with a matching cowl like scarf pie that is not pictured but will be sent with the dress

Bust: 17" flat across from side seam to side seam
Inner bodice at waist: 14.5" flat across from side seam to side seam
Hips: open
Length: approx 60" from neck to hem
Front slit: 21" from hem up

Modern Sizing Equivalent: SML-MED

Item# DD3277

Reference Photos: Cherie, Owner of Shrimpton Couture.

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

This wonderful gown with its exquisitely beaded bodice and attached cape is a numbered Haute Couture piece designed by Pierre Balmain. Both pieces would have been  made entirely by hand at the Paris atelier and the bead work done by Lesage. We found a similar gown from that same Couture collection that was featured in Harper's Bazaar that year It is an extraordinary example of the work being done during this time period of the label's history and is very beautiful.

The impact that this gown has cannot be denied. You instantly get the feel of Ancient Greece and yet is has a touch of modernity to it as well. It dress is made out of a very fine ivory silk chiffon. The neckline is high and the skirt flows to the floor with two layers of of silk chiffon over an interior silk skirt. The bodice is covered with hand placed glass tube beads that is most likely the workmanship of the famed Lesage ateliers. Eash bead has been carefully placed by hand and then they are mixed with a real metal gold thread that has been used to outline the design created with the beads. More of that same metallic thread is used to create a gold and ivory braiding that runs down the front and back and highlight the neckline. The cape detail on this one is unusual and really what makes it extra special. This cape is made of that same high end ivory silk chiffon. It ties at the front neck but it also is secured to the shoulders so that it stays perfectly in place no matter how you move, stand or sit. It is attached by tiny snaps, hidden under the inside collar of the neckline. There are endless couture level details put into this one and the workmanship throughout is perfectly and meticulously done. It is an amazing example of the fine workmanship and attention to detail of Haute Couture. and it is a true piece of fashion history. Excellent condition with one small note to review below

The dress is fully lined in an ivory through the bodice and innermost skirt. The skirt has two layers of silk over the inner lining. There may be the occasional loose or missing bead or thread. Both pieces have their numbered tag present under the main label and both bear the same number of 764027. Hand finished. It closes with a hand set, back painted metal zipper. I see one tiny yellowed spot on one tie and a pinpoint of a spot on the cape. There are two teeny smudges on the lower portion of the skirt. None of these detract - I am just being super picky. There is a slight darkening to the silk around the waist under the seam. I have photoed it all the way around and you can see that after the photos of the Couture label.

Bust: 17" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Bodice: 15" from top of bodice to waist
Skirt: 42" from waist to hem
Cape: 57"

Modern Sizing Equivalent: SML-MED

Item# DD2945

Reference Photo: Gleb Derujinsky in Pierre Balmain, Harper's Bazaar, April 1961.

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

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

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

Measures 53" x 53"

Item# A360

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

Harvey Berin opened his self-named label in 1921 and by the 1940s his label was considered to be a leader in American fashion. The pieces were actually designed by Karen Stark, his wife's sister, though it is said that all designs had to meet with Berin's approval before going into production. The dresses were made with high end finishes and were often based on the Parisian couture designs of the season. By 1952 Stark had won a Coty award. This dress is one of the best I have seen from the label and is extraordinary.

The dress is absolutely wonderful and could easily stand side by side with any of the couture dresses being produced in this time frame. The base fabric is a pale ivory with just the barest touch of blush to it. It then has a beautiful floral and leaf pattern worked into the silk that is made from a nude toned netting. The weave of the netting varies and these variations become a layer of the design itself. Over these fabrics the dress has been densely beaded with thousands and thousands of little white glass seed beads. These are applied by hand in a dense scattering cover over the main silk part. More beads are worked into dense ropes that follow the edges of each leave and flower. More beads are used to make up the inner design of the flowers and leaves. The heavy profusion of beads makes the dress feel that is has a good solid couture feeling weight to it. The cut is kept simple to off-set that amazing design. The straps are cut wide and curve over each shoulder. The bust is fitted with a sweetheart neckline at the front and a simple scoop at the back. The waist nips in and the skirt flares out to be very full under that. I put a light crinoline under it for the photos and I think you could go even fuller if you wished. In person the dress has far more impact and beauty then the photos could ever convey. You will honestly be floored when you see it in person. The color is a more true ivory-nude and the dress has more depth and a 3D effect in real life. It is wonderful and would perhaps even make a fabulous wedding dress for the bride looking for something non-traditional. Excellent condition with a couple of tiny items to note below.

Fully lined in a pale pink silk and closes with a side set painted metal zipper. There is a teeny tiny area of the slightest of darkening to the fabric under one arm and a couple of tiny storage spots. Nothing that I feel detracts in any way. I have photoed the areas and you can see then after the shot of the label. Hand finished throughout. There is a 4.5" hem turned up and it appears that someone has turned it up at some point already and this prior shortening takes up about 2.5" of the total

Bust: 18.5" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of bodice to waist
Skirt: 29" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3218

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 Bill Gibb set is from the turn of the 1970s and early on in his label's history. Gibb was one of the most influential and famous designers in 1970s Britain and his clothes were sought out and worn by the rich and famous. This two piece dress and jacket set is absolutely gorgeous and a wonderful example of his work.

The set consists of loose, swing cut jacket and a pinafore feeling dress that buttons up the back. The dress has straps that curve up and around the neck to cross over at the back. This leaves a nice low scoop to the back. The front has his signature bib finish and onto this front panel is an elaborate pattern embroidered onto the cotton. The cut swings out from there to be very full by the time it reaches the hem. It buttons up the back and opens completely when unbuttoned. The jacket is a work of art and is cut with high capped shoulders and is finished with a ribbed grosgrain ribbon down the front and around the hem.  It has no closures and is cut to be very full through the body. Big pleats run down the back to help accomplish this and to add design detail. The cuffs are incredible with working button and loops set on a backdrop of that same ribbon finish for an almost 'dandy' feel to them. The fabric is a soft gauze cotton that has little embroidered squares set over the surface as well as little boxes of tiny cut outs. Both pieces are fully lined in an ivory satin so you can't see all the way through the cut outs but they do add a wonderful bit of extra texture. This is a rare and absolutely wonderful set. Excellent condition.

Both pieces are fully lined in an ivory satin. The dress buttons to close at the back. The jacket has no closures. Note the set purposely has a soft, almost 'lived in' feel due to the fabric choice.

Jacket
Sleeves: 24"
Slightly inset shoulders: approx 14"
Bust: to 18" flat across from side seam to side seam
Waist-hips: open
Length: 28" from neck to hem

Dress
Bust: 16.5-17.5" flat across from side seam to side seam
Waist-hem: open
Length: 43" from shoulder strap to hem

Modern Sizing Equivalent: XS-SML

Item# DD3196

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 set is from the same Haute Couture collection as the linen jacket I also have listed in the shop. It is also from the same private collection coming to me from the daughter of the original Couture client. The look for the 1981 season, according to the book, 'Dior, Catwalk' was easy, flowing styles .. "the dresses often have short puffed sleeves and are scattered with cheerful motifs....Bohan has created styles that not only uphold the honor of couture but can be worn comfortably as well"

The attention to detail shown in every stitch is breathtaking. It is entirely done by hand and the silks used are of the highest possible grade and are as fine and light as a feather. The top is done in a silk chiffon that has a ribbon finish to it that adds pretty texture. It floats over the torso for an easy fit. It is unlined, which makes it semi-transparent. It has a finish of pleats that run down the front for a pretty detail. This makes the floral pattern that covers the silk even more interesting as it peaks through and over the pleats. The sleeves are short and puffed as the collection was noted as having. The skirt is a neat pencil and falls in a column of perfectly cut silk. The same pretty floral pattern is continued over the silk of the skirt and it feels just a touch deeper in tone since the fabric there is opaque. The skirt wraps over itself and hooks & snaps to close. There are even pockets on each hip. It is truly a wonderful example of Couture during this time period and when you see it in person you will be astounded at the level of craftsmanship and care put into the construction. Excellent condition with one minor note below.

The skirt wraps and hooks and snaps to close. It is hand lined in an ivory silk. The bodice is unlined and closes down the front with the buttons and then snaps nearer to the bottom. You could move the hooks and snaps at the waist of the skirt to adjust the fit a bit up or down as required. There is one very faint spot on the tip of the collar of the top. I photoed it and you can review that photo after the label shot. The color in person is a pure ivory with no yellowing to the fabric - any you see in the photos is from the lighting only. It is completely made by hand as the parameters of Haute Couture dictates. Proper Haute Couture label present in the top. Numbered 13660

Top
Slightly inset shoulders: 13.5"
Bust-Hem: to 19" flat across from side seam to side seam
Length: 24" from top of bodice to waist

Skirt:
Waist: 12.25" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Length: 24" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3194

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

From the Spring 2015 Runway collection, this Valentino dress is wonderful. Both Maria Grazia Chiuri and Pierpaolo Piccioli were designing for that house at the time and taking the atelier to new places. Vogue said of the collection that season, remarking specifically to the seaside themed dresses: "The collection was poetic, graceful, and beautiful. Chiuri and Piccioli touched on many of Italy's patrimonies, from its antiquities all the way down to its kitsch... the designers lavished special attention on the seaside, printing some gowns with starfish and snails, and embroidering others with shells, sailing ships, and underwater creatures like the Portuguese man-of-war....as always, it was the workmanship that astounded, be it extravagantly done, as the feather-embroidered numbers were, or more naively wrought, like those sea creatures. "In this moment when everything is synthetic, digital, and flat, you need something more human. To dream, you need to feel something, not just to see," said Piccioli."

The dress is stunning and made from a silk chiffon that is entirely cut on the bias so that it flows and moved beautifully over the body. The coral design, that is in keeping with the theme of that season,  runs over the entire dress in a soft neutral palette that plays against the pale ivory cream silk. It is almost weightless and yet constructed so that it drapes on the body perfectly. The skirt falls to the floor in a sweep expanse of fabric. Two layers of chiffon are built in underneath the printed top layer so that it has a light floating effect when you move. The waist is cinched under the lightly draped bodice and the back is scooped low in an asymmetrical curve to leave most of the back bare. The open line is broken only by the silk covered elastic band that runs across the scoop to hold the dress in place. If you prefer it to be completely open you could easily remove this so you get more of the look of the editorial photo from Vogue that I have included. The front of the top is cut with a classical one shoulder design that leaves the other shoulder bare. It is very beautiful. Excellent condition

Fully lined in an ivory colored silk chiffon cut on the bias. The skirt is made up of three full layers of silk. It closes with a low back hidden set zipper. The strap that goes across the back is attached on one side and hooks to close on the other with a row of four hook & eye. The shoulder ties into place with long attached ties. Inner waist stay. Tagged a US8

Bust: to 17" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Bodice: approx 15" from top of bodice to waist and can be adjusted
Skirt: 42" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3022

Reference Photos: (1-3) Valentino S/S 2015, Look 68. Model: Irina Liss.  /  (2) Photo by Mario Testino, Vogue US, Feb 2015.  /  (3) S/S 2015 Valentino Ad.  /  (4-5) Cherie, Owner of Shrimpton Couture, by Erin Leydon. Cherie is wearing a Magnetic Midnight X Shrimpton Couture 'Stardust' Headpiece - available on the site here >

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 black version of this dress walked the runway for the Fall 2001 Couture show and I have had a black one in the shop but never the ivory until now. Versions of this piece have been a constant throughout Alaia's history and similar gowns featured prominently both in the Alaia exhibit at the Groninger Museum and accompanying book 'Alaia- Azzedine Alaia in the 21st Century,'.

This long and sexy silhouette is perhaps one of the most iconic of all the Alaia designs and most certainly one that is instantly recognizable as being his work. It is a look that feels as fresh to wear now as it did when it was created. The dress is made from his signature stretch viscose jersey. This fabric molds to the body once on and is cut to hug every curve through the bodice and the waist. Under that it flows out into a very long, full length skirt that is made of yards and yards of fabric. The contrast of being fully covered and yet having your every curve show is signature part of his genius in covering the female form. The bodice of the dress is cut into a slightly higher neck and back and has low dipping sides. Raised seam work highlight the curves of the dress around the body and also create and emphasize the bust and waist. More seams curve around the backside and hug the body. The color is a creamy ivory. This dress would also make for a wonderful wedding dress for someone looking for something not as traditional. Excellent condition with one very minor note below

Unlined and closes with a hidden set side zipper. There are also hook and eye hidden at the top of one shoulder. The gown is bias cut so does come up in length a touch once on. It is tagged a vintage Alaia size Small and Alaia does run small. The knit will stretch a bit and allow for a bit of range size-wise. I have given the range laying flat and stretching out to its comfortable max - you might be able to squeeze a touch more if needed. There is a teeny bit of a very faint mark near the base of the zipper but it is extremely minor. Please see the photo provided after the label shot

Bust: will stretch to 16" flat across from side seam to side seam
Waist: 12-13.5" flat across from side seam to side seam
Hips: 14-18" flat across from side seam to side seam
Length: 67" from top of shoulder to front hem, 70" to back hem

Modern Sizing Equivalent: XS-SML

Item# DD3145

Reference Photo: (1) F/W 2001 Alaia Haute Couture Collection, Look 18.  /  (2) Alaia in his Paris Atelier with his long-time muse Naomi Campbell.  /  (3) Book: Alaia, Azzedine Alaia in the 22st Century, BAI publishers, Groninger Museum.

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 exceptional as far as the sheer impact of its design, It is made from an ivory silk satin. This gives the dress a touch of a rich sheen to it that beautifully catches the light. The front is cut in a long sleek sheath with a high set, wide scooped neckline. There is a overlay from the waist down that is set so that it just softly drapes around the hips for a bit of a sculptural feel and detailing. This overlay wraps all the way around and is secured on either side of the back zipper. It then drapes down in an elegantly curving line. The underskirt is cut longer at the back to form a train. I love how this creates that beautiful draped feel all around the hip area. The back is cut into a low V and each side is left open. This side opening is incredibly sensual and unexpected. Each has a criss cross beaded strap that runs down the open side for just the most subtle touch of beading and glitz. It is a gorgeous dress that would be perfect for a wedding dress for some one who wanted something not quite so traditional. Excellent condition with one note to review below

Fully lined with an ivory silky rayon and closes with a back zipper. The gown is very fresh looking with grubbiness only to the back train. I see a teeny bit of sequin loss to one strap that is extremely minor. I have included a photo of each of these areas after the label shot. Tagged a size 6

Bust: to 17" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 62" from top of shoulder to front hem, 72" to the very end of the back train

Modern Sizing Equivalent: SML-MED

Item# DD3143

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

From the Spring 2015 collection comes this fabulous little mini from Balmain. On the runway it was shown in a longer length but was also produced as this micro mini for retail. With the craze for micro short pieces still going strong it almost feels more relevant now then it did when it came out. The skirt is made from a denim feeling thick cotton canvas fabric that both holds its shape and shapes the wearer. The design is a graphic white on black and the white is placed to highlight the lines of the skirt and the cures of the girl wearing it. It is cut to sit higher up on the waist to really give you a curved feel. It cinches in at the waist and flares out slightly as it nears the hem. I love the stark lines and the two pockets that sit on either hip. Unworn and with original tags. Excellent condition

Fully lined in a black ribbed silk and closes with their signature chunky back zipper. Tagged a 40. New and unworn with original hang tag still attached

Waist: 14.5" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 18" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# S836

Reference photos: (1) Balmain Spring 2015, Look 18, model: Andreea Diaconu.  /  (2) Erica Pelosini in Balmain, Miami, 2015.

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

From the Fall 2014 collection comes this fabulous little mini from designer Fausto Puglisi. With the craze for micro short pieces still going string it almost feels more relevant now then it did when it came out. The main portion of the skirt is made from a beautiful silk twill that has Lady Liberty printed on it in a repeating pattern of squares. They are printed in shades of a graduated grey on an ivory backdrop. The waist and edges are finished in a a border of black that has a little more weight to it so the shape of the skirt is held when on. It cinches in at the waist and flares out as it nears the hem. The front is made to look like a wrap and comes up slightly shorter for even more leg to show. Unworn and with original tags. Excellent condition

Fully lined in a black silk and closes with a hidden set back zipper. Tagged a 42. New and unworn with original hang tag still attached

Waist: 14" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 16.5" from waist to the shortest point of the front hem, 18" to the back hem

Modern Sizing Equivalent: SML-MED

Item# S834

Reference Photo: (1) F/W 2014 Fausto Puglisi, Look 26, Model: Tami Williams. / (2) Chanel Iman, April 29th 2014

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

Heart-breakingly beautiful, this silk chiffon Hanae Mori gown is a rare example of her true Haute Couture work. The dress just an absolute work of art from the Spring 2000 collection. It is an interesting example of how the client is really the driving force behind what they buy. The dress is an adaptation of look seven from the runway and uses a print from the Fall 1990 collection. I have included a reference photo of both the 2000 runway dress and the 1990 one as they were presented.  It has her signature east meets west feel and it is an honor to have a piece of her couture work in the shop. 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.

Fully lined in a hand set cream silk. It has a fully built in inner boned bodice that closes with its own independent zipper. A second, hidden set zipper closes the exterior. The top silk chiffon layer of the skirt hides the zipper below the waist with fabric covered snaps. Inner waist stay. Hand finished to couture standards. Haute Couture tape #C 1109 5.4.2000. There is the very faintest of tiny marks to the silk just below the waist line with the tiniest of pulls to the fabric here and there. A small bit of scuffing to the inner lining of the train. All extremely minor and when on it appears unworn.

Waist: 14.5" flat across from side seam to side seam
Hips: to 20.5" flat across from side seam to side seam
Bodice: 15.5" from top of bodice to waist
Skirt: 44" from waist to shortest point of front hem, 59" to the back hem
Shawl: 36" x 124"

Modern Sizing Equivalent: MED-LRG

Item# DD3020

Reference Photo: (1) Hanae Mori F/W 1990 Haute Couture Collection.  /  (2) Hanae Mori S/S 2000 Haute Couture Collection. (3-4) Cherie, Owner of Shrimpton Couture, by Erin Leydon. Cherie is wearing a Magnetic Midnight X Shrimpton Couture 'Shooting Stars' Headpiece - available on the site here >

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

Annacat is a label that is very hard to find and rare. When you do find one and it is as sexy and delicious as this one is you really feel like celebrating. In its day, Annacat pieces were often featured in editorials for Vogue UK and Harper's. The label was a heavy favorite of the fashion insiders at the time and worn by the "it girls" and rock stars of the day. This full length maxi dress is an amazing example of the best of what they were producing and why there were wait lists to get your hands on their dresses back then. The bodice is gathered along the center halter piece that ties up and around the back of the neck. Then, each side of the bodice extends into a long fabric tie that you wrap and tie around the waist or tie at the back and leave trailing down. This design leaves the back completely open and bare so it is insanely sexy. The waist nips in with the front halter extending into a wide panel right down the front - it almost acts like a huge pendant or neck piece. The skirt has yards and yards of fabric and it moves wonderfully as it is all cut on the bias. It is made of a cotton fabric that is wash and wear and I love the pretty floral pattern that covers the surface. It is a very rare and very fabulous vintage piece that still feels shockingly modern and sexy. Excellent condition.

Unlined and closes with a back painted metal zipper at the back waist. The front extends on either side and ties in the back and then the halter buttons at the back of the neck. Also if you love this one you may want to see this one as well - its the twin in cut but made of silk.

Bust: variable as it ties
Waist: 12.5" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: approx 15" from neck to waist
Skirt: 42" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2824

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 Haute Couture tape hidden behind the label gives us the exact date on this Emanuel Ungaro skirt and jacket set. Ungaro recently passed away and that always makes you look at a designers work with a new appreciation. Ungaro launched his label in 1965 after stints at Balenciaga and Courrreges. He was a brilliant designer who was known for his of extravagant fabrics and flamboyance. This set comes from the original couture client and is a refined and elegant example of his work

The set is made of a beautiful embroidered hand made lace that has little silver sequins hand applied to it to highlight the floral parts of the design in the lace. When worn together you get the feel of a well cut evening suit. The jacket is unusual with its shorter sleeves. It is cut to skim over the body and it closes down the front. The neckline dips into a V and the edges are all finished with a banding of sequins applied side by side. The skirt is cut to skim over the hips and then widens out with a slight flare as it nears the hem. The fabric is very light in weight but it is still well constructed so feels amazing on. The lace is backed in a fine silk dyed that has been dyed to match the light pastel silver grey tone in the lace perfectly. No shortcut was taken in the construction and it is a stand out example of how refined his work could be. It is even better in person and the sequins give it a mother of pearl finish that feels almost metallic in its appearance. Excellent condition with one small condition note below.

The jacket and skirt are both fully lined in a hand set silk of very high quality. The jacket closes with hidden set silk covered snaps at the front. The skirt closes with a hand set, painted metal zipper and flat hook and eye at the back. There are some areas where the lace has darkened slightly here and there. I have attempted to capture it in the last two photo s after the label shot but it was very difficult. Finished to Haute Couture standards and entirely made by hand. Haute Couture tape label present under label #H598- 8(or3)-75

Top
Shoulders: no true defined seam
Bust: 18" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: 17.5" flat across from side seam to side seam
Length: 21" from neck to hem

Skirt
Waist: 12" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 27" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2478

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 gown is magnificent. I have never seen a gown from this period as pretty or romantic as this one and if not worn for a special event or winter gala, it could surely serve as a wedding gown for the bride looking to wear vintage. It is absolutely stunning. The bodice is a long dropped waist fitted affair that is entirely covered with hand done bead work. The silver glass tube beads cover every inch and glint and gleam in the light. Straps curve up and around the neck and the upper back is left bare. The cups are formed and highlighted with beautiful curving lines. Below these, the waist curves in and then curves back out and over the top of the hips. The skirt is divine - it is three full tiers of layered silk tulle. Each of the three tiers is a single gathered layer of tulle that circles the skirt. On each the tulle is of so fine a grade and light that at first glance you think that there must be layers and layers of fabric to create all that volume but it is just a testament to the quality of the fabric from this time period. I love the raw edges of the tulle layers giving the gown a slightly deconstructed feel. It is decadent and beautiful. It has no label but I feel it surely could have had one and a high end one at that  - it is that finely made and executed. Excellent condition.

The skirt is fully lined with a cream silk and the bodice is unlined. It closes with a back painted metal zipper and the halter slips over the head and looks to have been folded sewn to shorten. I see one tiny area of missing beads but the extensive amount of beading means this is only noticeable upon close inspection. You could easily steal a couple from an interior seam if you wished. Interior boning. The bead work is entirely done by hand. Hand work throughout. Note that is was photoed on a size 2-4 dress form and it would not close. On the proper sized girl it would of course close properly.

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.

Bust: 16" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: 16" flat across from side seam to side seam at the bottom of the bead work bodice, open below that
Bodice: 23" from top of neck to dropped waist
Skirt: 39" from dropped waist to hem

Modern Sizing Equivalent: XS

Item# E590

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