This is the prettiest silk kimono whose interior side is done in as pretty a print as the exterior. Because of the way its finished properly on the inside you can easily flip it inside out and wear it the other way around. Which effectively gives you two kimonos in one. Even the belt has been made so that each side of it matches one side of the kimono. Both sides are covered with a dreamy and romantic print. On the one side it is a combination of deep bright blues with a huge over-sized floral print. Then on the inside it is an ivory colour with a pretty, more delicate floral print in soft corals. These vintage kimonos made for the western markets are perfect to use as  lingerie robes but they can also double as a dress when wrapped a tied, or an evening jackets when worn layered over other pieces. They are perfect for a honeymoon too. It is just lovely. I just love the romantic feel of the blossoms as they trail across the surface of the kimono. It is a wonderful piece that can work for many different options and it is just so pretty. Excellent condition with a small note below.

The kimono has two sides as described above. Comes with its original reversible tie belt. There are some very tiny marks on it but they are minor. Please see the shots after the label shot.

Width across including sleeves: 50"
Sleeve drop: 22.5"
Bust: 25" flat across from side seam to side seam
Length: 55" from neck to hem

Modern Sizing Equivalent: One Size Fits All

Item# D638

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

Donald Brooks pieces are extremely well made and his main label pieces, like this one, border on couture in their construction as they were all made to order. Brooks launched his main line label in 1963 with a collection for the Spring 1964 season. He quickly became one of the most sought after of the American designers and his client roster included Mrs. Kennedy, Claudette Colbert and Faye Dunaway. The New York Times said that he was one of 'the three B's of fashion' alongside Bill Blass and Geoffrey Beene. He helped to launch the American Council of Fashion Designers, won three Cody Awards and he designed the costumes for numerous Broadway plays. He launched a secondary boutique line 1971 but by 1973 both of his self-named labels shuttered as he chose to focus on his costume and stage work which was really his first love. This is an exceptional piece of his work

This is an absolute dream piece. This is the type of dress that you will only ever find in vintage. I really cannot gush about it enough. I have had this in my archives for several years now and it felt like the right time to let it go. It is a beautiful and glamorous dress that is red carpet worthy and would make an amazing wedding dress for the bride looking for a non-traditional shorter choice or as an alternative dress in a more extended wedding celebration. And of course it could also be worn to any event. As good as it looks here it only really comes to life once on. The cost to produce this level of fabric now would be sky-high. It is an intricate combination of an ivory silk cording that has been hand stitched into place around several types of netted lace. This combination of lace and cording then lies over an inner matte silk satin. The cording and lace add incredible dimension and texture to the dress. The work that would have gone into the fabric alone is mind blowing. The lines of the dress are equally as beautiful. The bodice has a slight dip at the front neckline and is cut to skim over the bodice from there. There is an inner lining that goes down into a scooped curve so that you see the skin of the upper back and bodice through the lace. The waist is just above the natural waistline. A wide ivory colour silk satin ribbon is attached and wraps around you and then at the front it is finished with the stunning four sided rounded bow that sits up and off the dress. The skirt falls from there and widens out as it nears the hem to give the dress a slight babydoll feel. I love how the all of the edges are finished with a scalloping effect. At the back it zips to close and then has hidden silk covered snaps to secure the fabric over the zipper to hide it. The amount of detail in this dress is just fantastic. It is an absolute work of art. Excellent condition

The bodice is lined in a combination of a nude lingerie weight netting and silk taffeta. The skirt has a full matte silk satin underskirt under the net layer. The sleeves are unlined. It closes with a painted metal zipper at the back and the outer lace snaps over that. Inner waist stay hooks to close. The sleeves buttons to close with hand covered silk buttons and loops. The dress is a more traditional ivory colour in person and more creamy feeling. Perhaps a touch of grubbiness to the edges along the neck but I am being picky. Perhaps a broken thread here and there but remarkably no noticeable broken areas despite all the intricate thread work. Finished by hand throughout.

Sleeves: 24"
Slightly dropped shoulders: 15.5"
Bust: to 16.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 12" from top of bodice to waist
Skirt: 25.5" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3959

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

Azzedine Alaia pieces are always a delight to find. His knits were all self developed and are among the best out there. He started his career as a dressmakers assistant  and copied couture gowns for wealthy Tunisian clients. In 1957 he moved to Paris and worked for Christian Dior for a grand total of five days. He then moved over to Guy Laroche and quietly started to get private commissions on the side. By 1960 he was doing mainly private work and within a few years established a small salon on the Left Bank where he continued designing privately. He stayed at that salon until 1984. During this time period he also did private freelance work for other designers including Claude Montana, Thierry Mugler and even Yves Saint Laurent. It was not until 1981 that he launched his first official collection and by 1983 he had a boutique in Beverley Hills. The French Ministry of Culture honored him with the Designer of the Year award in 1985. In 1993 he decided that the established fashion show schedule was not for him and he eschewed producing a new collection every season. Instead he showed when his collections were ready and continued to do so until his death in 2017. This dress is just fabulous and in mint condition

This Azzedine Alaia dress has a definite nod to some of his earlier work. It is based on a very similar dress to this one that he first made in the 1990s that had a slightly different woven pattern but otherwise had the same feel. The dress is made from ribbed and patterned knit in a stark white. This lies over a nude colored inner stretch jersey. The nude jersey peeks out between the open parts of the white knit and this is meant to give the illusion that you are wearing the knit over your bare skin. This inner lining is a stretch knit jersey that hugs and molds to your body to help hold things in place and creates a smooth line for the dress to fall over. As with all Azzedine Alaia pieces, this dress is cut to hug and highlight every curve. The workmanship and the fabric is the best you can get and I love the wide ribbed knit 'ruffle' at the hem. A V neck at the front and no sleeves are the perfect balance to the original unaltered extra long supermodel length of the dress. It's Barney's tag is still attached and it appears as if the dress was never worn. It is incredible. Excellent condition.

Fully lined in a nude lingerie weight stretch knit jersey. It slips on to wear with no closures. The knit gives is a bias cut so it should accommodate a range of sizes. Tagged a modern Alaia 38 but will stretch quite a bit. I have given the range of sizes from it laying flat and being completely unstretched to stretched out comfortably. You could probably get another inch or so beyond these as well once on an actual body. The length will come up a bit once on an actual body

Bust: 13-18" flat across from side seam to side seam comfortably
Waist: 11-15" flat across from side seam to side seam comfortably
Hips: 16-20" flat across from side seam to side seam comfortably
Length: 64" 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.

John Galliano was moved from Givenchy to Christian Dior in October of 1996 and stayed there until he was dismissed in February of 2011. This dress is from the Spring 2006 collection and was a piece that would have been produced in limited quantities. It has a definite wedding feel to it and it would make an exceptional wedding dress or a dress for an event in an extended wedding celebration. The dress was never worn and still has its original little sealed miniature Dior bag attached with extra fabric inside. It is like getting something out of a time capsule and could not be closer to doing that then if you could go back and buy it off the rack new.

This is a stunning Dior dress and it is even better in person and on an actual body. As with many Galliano piece this dress is entirely cut on the bias and it is meant to be on an actual body and not a mere dress form. As good as it looks here it only really comes to life once on. The dress is made from a creamy ivory champagne coloured silk satin that has a texture worked into the fabric that helps it to catch the light and give it a slight shimmer feel. It  is very beautiful. The fabric and the way it is cut and draped allow it to hug the body but without being tight. It skims over you and definitely highlights every curve yet is very comfortable and easy to move in. The dress has a wide V plunging front and it has that same plunge effect at the back. There is a slightly off set ribbon of fabric that runs down the center and past the waist and all of the fabric is gathered into that in soft folds. This is what gives the dress its hourglass shape and it is incredible to see in person. The waist is cut on the bias and while there is a seam at the waist is it not super cinched in as it sits slightly low. If you wanted it to be very fitted it would be easy to alter it to fit you perfectly. At the base of that front vertical ribbon there is a flat double bow and underneath that he has added panels of fabric that give the dress this pretty volume on the one side. The panel opens up and expands out to be very full. At the back he has set another flat bow low at the center and this also expands out underneath with panels of fabric to give you a trained feel. The skirt has yards and yards of fabric in it and I love that the way that he has used those panels highlights the insane hourglass feel the dress gives you. It is a beautiful and glamorous dress that is red carpet worthy and would make an amazing wedding dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. And of course it could also be worn to any big event. Excellent condition

The dress is fully lined in a second layer of the same silk. It closes with a hidden set zipper at the back. It appears to have never been worn or worn very little as described above. Tagged a US10 FR42 IT46 but Dior always cut small. With the cut and extra fabric the inner skirt would give you I feel like this one could  possibly be altered up or down at least one size if not more.

Shoulders: no true seams
Bust: 15-18" flat across from side seam to side seam
Waist: 13-14.5" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Bodice: 18" from top of bodice to slightly dropped waist seam
Skirt: 46" from waist to front hem, 52" to longest point of the back hem

Modern Sizing Equivalent: SML-MED

Item# DD3926

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 Valentino Roma label launched in 2000 to take the place of the Miss V line. It was sold at a price point that was more accessible then their main line and was meant to be available in more shops then the main line would be. The pieces are still very well made. This one caught my eye as it would potentially make a great wedding piece. It has a small flaw but it is one that I feel could be fixed or covered and it is a stunning dress.

The dress is made out of a light stretch silk feeling fabric. The colour is a simple and chic and is done in a slightly off-white colour. It is completely cut on the bias and it is super model long. When you slip it on, it simply drapes into place and molds over your curves. The bodice dips into a low plunge that is squared off at its base. Under that is panel that is set with white sequins and beads for a subtle little detailing. It skims over the bodice and then extends up into wide straps that curve up and over the shoulders. At the back there is another dip that also is squared off at its base. It is gathered into the panel at the front and this allows the dress to simply glide over you. The gathers draw in the eye to help the waist looks smaller and make it very flattering. It skims over the hips and then falls to the floor in a cascade of fabric that is cut very long. It gently widens out as it nears the hem. You get a stunning column feel when you stand still but there is enough fabric in there that you get a touch of volume when you move or twirl. It is gorgeous. It has its original tags and appears to have never been worn. Excellent overall condition but it does have two small issues to review below

Fully lined in a white chiffon and closes with a back hidden set zipper. Tagged a size 46 and the bias cut should allow it to fit a variety of sizes. There are two small slits in the fabric on one shoulder. You could easily have these covered or embellished to hide it. There is grubbiness at the hem. It is so long this is from dragging on the floor when previously stored. Even a minor hemming would get rid of it entirely. 

Bust: to 19" flat across the front from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 65" from top of shoulder to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3912

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

This is one of those pieces that you can only find in vintage. It is so spectacular and it would certainly be the show piece of any vintage collection. It would make an amazing wedding piece for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration and of course it would work for any red carpet event or gala.

This is an exquisite 1960s silk gauze dress whose exterior is covered with hand done sequin work.  It has no tags except the one that identifies the work as having been done in India where some the finest sequin work on the planet was being executed during this time period. The dress is made from two layers of the finest slightly textured silk gauze that float over an inner fine silk lining. Then onto the top layer of gauze is that incredible floral design that is completely made from an array of beautiful coloured sequins. You would rarely see this level of handwork on a piece today and if you did it would cost the moon. The work here borders on couture. Each flower is beautifully made from a dense application of sequins. Many of the parts of the design are set to give the flowers a slightly raised 3D effect. These cover the entire dress on both the front and back. The front bodice and all the way around the hem have the heaviest amount of hand work and sequins but even the sleeves are adorned with those beautiful flowers and sequins. The dress is cut to skim lightly over the bodice with a high scooped neckline. Each sleeve is a double layer of the silk and are cut to gracefully follow the curve of the arm. The waist is seamed and the layers of the skirt float over the inner silk lining, gently widening out as it nears the hem. The dress also comes with its original matching shawl made of a single layer of the silk gauze. It is also sequinned with flowers. It is quite large  and you could easily use it as a head piece, a veil, over the shoulders for a cape effect or tie it around the waist. This is a remarkable example of the fine hand work being done during this time period and is quite beautiful. This it is a definitely once in a life time find. It looks like it was never worn or worn very little. Excellent condition.

Fully lined in a matching silk and and closes with a back painted metal and nylon zipper. Each cuff has snaps to close. Hand finishes and all the sequin work is hand done. Hand rolled edges on the matching shawl. There may be the occasional sequin missing but it presents perfectly with no outstanding issues. Carefully stored.

Sleeves: 19"
Slightly inset shoulders: 14"
Bust: 17" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 16" from top of bodice to waist
Skirt: 39.5" from waist to hem
Shawl: 84" x 32" 

Modern Sizing Equivalent:

Item# E703

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 instantly recognizable as an Alexander McQueen piece. And it is an incredibly interesting piece when you fully delve into its history. This was a part of the McQueen wedding dress line for the Spring of 2012. By that date the label was under the direction of Sarah Burton. However this dress is a ivory lace version of the dress that Lee designed for the 2007 runway for Look 20. I have seen the twin of this dress for sale at more then double my price and mislabeled as being a 2007 original. But it is not. It was produced in 2012 as an updated dress made wedding appropriate and was based on the 2007 dress that I have included here. The 2007 collection was titled "Sarabrande" and the Alexander McQueen website stated this of that collection:The inspiration is Handelís Sarabande of the title is a majestic and elegant dance - the portraits of Goya, the turn of the century exotic and socialite Marchesa Luisa Casati and garden flowers. As always, there is a melancholic undertone: faded flowers are trapped in chiffon and lace, ruffled skirts constructed out of tiers of delicate petals and prints are botanical brightly coloured birds and blooms, scattering swallows and winding stems of leaves. Show pieces include a dress made entirely out of frozen flowers. Tailoring is this time more fluid than it has been and clothing indebted to horsemanship is worn with finely worked, oversized pirate shirts. McQueen's idealisation of the feminine form continues with an exaggerated hour-glass silhouette.' So the dress is an original Alexander McQueen design but one that was executed after his death. The connection to Lee makes it very interesting and the dress is exceptionally beautiful.

The dress is stunning and even though it is meant to be a wedding dress I think that his work transcends any box assigned to it. As stunning a piece it would make for a bride it would also be spectacular for the events surrounding a wedding weekend or as a gala / event piece. The dress is very fitted through the bodice and waist with a fully built in corset whose boning acts as a secondary design element. You can just see it peaking though the lace over the bust and bodice and the curves and complex pattern iff the boning makes for an interesting detail in itself. The breasts are formed and cupped and and the skirt falls to about the knee, depending on your height, at the front. The sleeves are to the elbow and made from a single layer of that stunning lace. It is set to sit off the shoulder and the runway version in black really gives you an idea of fit. On the runway I think they added a hip peplum or tulle under the back and sides to create a more bustle effect. On this one the train falls in a more graceful and soft feeling down the sides and then down the back to slightly train behind you. If you loved the look of the runway it would be easy to have something made to support the fabric underneath and recreate that look. It is an incredible dress and though it does look pretty on my dress form it is no where near as gorgeous as it will be on an actual body. Excellent condition with one minor note below. 

The bodice has a full complexly boned corset and cups and closes with a back hidden set zipper. The lace snaps into place over the top portion of the zipper and just above it. The skirt is fully lined in an ivory silk. This was never worn but there is a small yellowing spot on the back of the lace above the zipper that happened during storage. It is on the underside of the lace that snaps to close so once it is snapped into place the lace above it hides it completely. I have added three photos after the label shots to show this. The first is the mark on the lining, the second to show that it peaks out on the lace just slightly and the third shows it snapped close with the other side over it completely hiding the mark. The corset does have some stretch. Tagged a 42

Sleeves: 12.5"
Bust: approx 17.5" flat across from side seam to side seam with a B-C cup
Waist: 12-14" flat across from side seam to side seam
Seam at the bottom of the corset/top of the hips: 16-17.5"
Natural hips: open
Bodice: 19" from top of natural shoulder to bottom seam of the corset
Skirt: 38" from top of natural shoulder to front hem, 64" to the longest point of the back 

Modern Sizing Equivalent: SML-MED

Item# DD3907

Reference Photos: Spring 2007 Alexander McQueen Runway. Look 20 worn by Camila Finn.

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

Giorgio Sant' Angelo was the winner of two Coty Awards and two Council of Fashion Designers of America honors and was known for his innovation and pioneering use of stretch fabrics. He has had an entire museum exhibit dedicated to his work and career and is firmly entrenched as one of the great designers. His work captured a moment in fashion history and his love of color and strong lines will forever be collectible. Pieces reside in museums worldwide including The Met where there is a dress from this same collection that uses the same ribbon decoration as this one has. On the notes for The Met's dress they state; 'Giorgio di Sant'Angelo was noted for his use of multiple inspirations. In this evening dress, he combines both Renaissance and gypsy or possibly Native American influences. The ribbon and braid appliqué are reminiscent of Seminole patchwork.' This is an incredible example of his work during this time period. 

This dress has an extra special layer of meaning because it was only worn once and it was for my clients wedding. She even sent me a photo which I have included here so that you can see exactly how beautiful the dress is once on the body. The dress is not 100% perfect but its flaws are forgivable given it rarity and beauty. The dress is made from a natural linen colour cotton crochet thread. The entire dress has been crocheted with an open weave. Its loose and easy cut makes it incredibly easy to wear. The dress has a top crocheted layer that lies over an inner stretch jersey lining. Both these layers are meant to simply skim over the body in a long straight cut sheath that widens out as it nears the hem. The body of the dress is suspended from the shoulders and falls in a tubular column to just past the hips. The skirt is set into that and is done in tiers that widen out to be very full by the time they reach the hem. Each tier is separated by metallic ribbons in a variety of bright colours. That pop of bright collar against the natural feeling thread is just spectacular. The sleeves are equally uncredible. Each widens out to the elbow and then the same metallic ribbon runs around them where they form big rounded drops to the cuff. I love the little flowers worked through the crochet work. The edges of the hem and on the sleeve are finished with a more lace like feeling scalloped edge for that little extra bit of detailing. It is an incredible dress. His work is so rare and this is just a wonderful example of it. Great condition with notes to review below. 

The dress is lined with an attached cream jersey dress as described above. It closes with a back zipper and each cuff snaps to close. There are light marks on the exterior crochet thread under each arm and two small spots at the back towards the side. They are not on the interior dress but just the outside layer. It was cleaned but not soaked aggressively so these might come out with a specialty cleaning. Without these marks this dress would be double in price. There is a minor repair under one arm along the seam. Please see the last three photos after the label shot. The jersey has some stretch. The measurements below are of the comfortable range while lying flat 

Sleeves: 25.5"
Bust: 15-19" flat across from side seam to side seam
Waist: 15-17" flat across from side seam to side seam
Hips: 19-23" flat across from side seam to side seam
Length: 56" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3906

Reference Photo: (1) From original owner.  /  (2) c. 1975 Giorgio di Sant'Angelo Evening Dress from The MET Collection Online.

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 exceptional example of Valentino's Haute Couture work that he was doing at the cusp of the 1970s. It is an extension of the collection that he showed for the 1969 with it's ivory colour and chic feel. Finding pieces from this time period in such wonderful condition is a rarity and I am very pleased to have this beautiful coat in the shop. I am also pleased to have found a reference photo from that season so that you have an idea of just how elegant this coat is once on the body. It is an extraordinary and historically important piece of Valentino's couture work and it is utterly gorgeous to boot.

The coat manages to elegantly combine a seemingly simple feel with the precise seams and masterfully tailored precision cut that it is finished with. It is constructed with long vertical seams that create the curves of the coat. The coat is more fitted through the upper bodice and then skims over the waist and flares out just very slightly as it nears the hem. The collar is neat with a beautiful notched front and rounded curves that sit high up on the neck. The fabric is a creamy ivory wool and this fabric choice allowed Valentino to be able to sculpt the exact shape that he desired. Mother of Pearl feeling buttons adorned with a gold brass rims run down the front in a double row for a slight military or pea coat feel. Circling all the way around you above and below the waist line is a series of precisely done pin tucks that add detailing to the coat and also emphasis the waist while still allowing it to simply skim over the body. What is even more extraordinary is that the same pin-tuck detailing has been done to the lining as well. This is the kind of detail that you would only ever see in couture where no detail was left undone. No shortcuts were taken in the construction of this coat and it is a stand out piece in every possible way. Cream and ivory colours is never the easiest to photo and I can assure you that it is even better in person. Excellent condition with a couple of minor notes below.

Fully lined in a hand set ivory silk taffeta. Proper finished buttonholes. The coat closes with buttons at the front and an inner button. Finished to Haute Couture standards and entirely done by hand. Pockets on each hip. This is a medium weight coat. I see a small and very faint mark on the back of one elbow. A slight bit of rust on one button. Please see the shots after the label shot. It looks like some of the inner seams have been reinforced. Any colour change in the photos is lighting. It is a slightly more creamy colour in person and better then how it photoed. 

Sleeves: 22"
Shoulders: 15"
Bust: 17.5" 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: 53" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD3901

Reference Photo: Spring 1970 Valentino.

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

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

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

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

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

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

Modern Sizing Equivalent: XS-SML

Item# DD3875

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

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

This dress is coming from the estate of a woman who was personal friends with Oscar and she bought some of his most beautiful pieces. The twin of this dress was shown on the Spring runway in 2003 for Look 59 which was the second to last closing look of the show. In Vogue's review of the collection journalist Janet Oxxard said in part; 'Front and center at life's rich pageant—that's where Oscar de la Renta wants to be. Leaving the monochrome color schemes and workaday fabrics to others, this is a designer who deals in luxury, elegance and—always—vibrant femininity.' This is one of the showstoppers of the runway show and is beautiful. A really wonderful example of his work

This Oscar de la Renta dress is stunning. It is red carpet worthy and would even make an amazing wedding piece for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. It is in fabulous condition. The dress is made from yards and yards of a white silk netting that has a black floral and leaf design embroidered through the fabric. The contrast between the stark white and the black is fabulous. The flowers are set between panels of embroidery that define and section the dress off. These run around the top of the bodice, circle the waist and then run down the skirt vertically. Two more bands circle the hem and all of them have the flowers embroidered and scattered between the more structured lines. It gives the dress this feeling of high decadence that is very beautiful. The flowers become a design element in themselves. The netting is just heavy enough to hold the shape and structure of the dress but even with all of that fabric it is not so heavy that it is uncomfortable to wear. It has a full built in boned corset inside the bodice so you don't have to worry about additional underpinnings. There are also built in underskirts. I did not add any additional crinolines to the dress for these photos. It has enough built in skirt that it falls on its own perfectly. The bust is strapless and fitted across the bodice. It is cut to follow your curves and there are cups inside to lift the breasts. It tightly hugs the bodice and then nips in at the waist. The skirt flows directly out from the waist and is cut to have volume all the way around you. Every angle is drama and gorgeousness. It is cut slightly longer at the back so that it flows out behind you just a touch. Inside there are six full layers of tulle with a more structured silk and stiffened net skirt in between the tulle layers. This gives the skirting the volume you see and keeps it full. I love the bareness of the shoulders the strapless silhouette gives you. It is the perfect balance to that full on princess skirt. It is a very stunning gown and is a beautiful example of Oscar's work. Excellent condition with a minor note below

There is a full built in corset that closes with its own zipper and then the dress closes over that with a hidden set zipper. Multiple layers of built in tulle and skirting as described above. One side of the net exterior layer of the skirt is a bit shorter then the rest. I see no evidence if it being taken up so if it was it was from the waist and very well done. There is so much fabric in the skirt and it is so long anyway it does really impact when on and it could be taken up all the way around from the waist if you wanted since the longer parts fall well past the inner hem anyway. It is reduced in price regardless. A few small breaks on the netting near the hem here and there. Tagged an ODLR 6 but seems to be cut small

Bust: 15.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 9" from top of bodice to waist
Skirt: 51" from waist to front hem, 54" to back hem. The part that is shorter on one side is 47"

Modern Sizing Equivalent: XXS-XS

Item# DD3874

Reference Photos/Video: Spring 2003 Oscar de la Renta Runway, Look 59. Model: Erin Wasson.

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

Oleg Cassini was born in Russia, started his career working for Jean Patou, opened his first shop in Rome and eventually moved to the US in 1936. He started in Hollywood designing costumes in 1941 and dressed just about every star in Hollywood for decades. While doing that he also had his own line where he built his reputation as being the designer of choice for Jacqueline Kennedy while she was the First Lady. In 2003 The Council of Fashion Designers of America Board of Directors noted Cassini's extraordinary design achievements with their first ever Board of Directors Special Tribute. This dress is from his higher end bridal couture line whose prices ranges from $5000 to $50000

This dress is is such a statement piece and definitely not for the super traditional bride. But if you have been looking for something that is a statement piece this is it. The dress is made from a rich feeling ivory silk satin. This gives the dress a touch of a luxurious sheen to it that beautifully catches the light. The front is cut in a long sleek sheath with a high set neckline that is cut straight across. It skims over the bust and comes in slightly at the waist. At the hips a panel of fabric wraps over the inner dress and is set so that it softly drapes around the hips for a bit of a sculptural feel and detailing. It continues all the way down to the hem at the front and then on each side of you it wraps around to the back where it is gathered along the sides of the back zipper. The back of that panel is cut on a curve that drapes down beautiful to the hem. Under that the main body of the dress flares out to create a stunning train behind you. The back is cut into a low V for a bare expanse of skin. More skin is shown with the cut outs that run down each side of the bodice. These side openings are incredible and a very unexpected detail. Each opening is held in place with a criss cross beaded strap that runs down the opening. The beadwork is done to form little flowers for a sweet little romantic touch. It is a gorgeous dress that would be perfect for a wedding dress for some one who wanted something not quite so traditional and it could also be worn for a black tie event. 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 from brushing on the floor when stored. I do not think it was ever actually worn. 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# DD3873

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, was appointed the Artistic Director. The house’s style became more structured under his tenure and the signature curves of the Ricci silhouette elongated and became more modern in feel. Designer Gérard Pipart then succeeded Jules-François Crahay in 1964. Throughout the following three decades, Pipart's Haute Couture aesthetic 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 for the house and is beautiful. I have dated it to 1965 based on the reference photos included here showing similar pieces from that season. It is exceptional and absolutely 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 this design 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 for you is a wonderful combination of the two. The exterior is a quilted silk brocade done in a chic and stunning ivory. The fabric that was chosen for this coat is especially beautiful. It has a 3D puffed 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 that you see. The interior of the coat is lined an ivory 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 side seam. All of the edges of the coat have been detailed and finished with a thick padded piping in the same fabric. This piping detail runs down the front, around the hem and circles around the end of each sleeve. Pockets lie along the seam on each side. The construction is at a Couture level of course and it is an absolutely stunning coat. This is a beautiful example of how refined true Haute Couture can be anode Pipart's work during this time period. Excellent condition with a note to review below.

The coat closes with the button at the front and there is a button and loop on the interior. The entire coat is lined in sheepskin. Finished to Haute Couture standards and entirely done by hand. Pockets along the seam. I see some fraying to the fabric around the back collar. There is a small mark on the back of one shoulder and a touch a a watermark on the silk of the other shoulder. Please see the photos after the shot 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.

John Anthony is an award-winning American fashion designer best known for simple, elegant clothing with a strong sense of chic. His work veers towards minimalism, with sharp tailoring, striking evening wear being his signature. He is renowned for his cutting and tailoring. From the day that he launched his atelier in 1971 his design philosophy is a fusion of function and purpose. The function is his logical, wearable approach; the purpose, his pared-down ideas. As a designer, he considers it his job to make things easy for the customer. He designs with focus and a narrow palette for both day and night, so items can easily intermingle. He uses natural fabrics and is noted for contradictory daywear fabrics in his evening collections. In the early 70’s he was one of the first designers to promote the idea of easy-to-travel clothes that resist wrinkling. By 1976, he was showing soft, liquid separates in muted colours that became his trademark and received 2 Coty awards, one in 1972 and one in 1976, as recognition. 

His business was all done on a made to order basis. That means the majority of pieces you will find are a one-off, or if there are similar pieces, very few of each piece exist. This personal attention to each dress is clearly seen in the workmanship of his pieces. His work is very expensive and beaded pieces did, and still do, retail for over $10,000. His work is a personal favourite of mine and I am thrilled to offer this exclusive nine piece capsule collection of pieces and samples that John pulled from his own archives to share with you. 

This is a dress that when you see it in person seems impossible to have the level of detail that is does on the silk and netting fabric. It is magical in person. The dress is made from a beige nude silk chiffon through the body and then the upper bust and back are made out of a nude silk netting. It is cut to skim over the body with a suggestion of a waist worked in by vertical seaming. The netting above the front edge of the bodice curves up to the shoulders and then down the back. The back is dipped very low so you see your lower back peek through the netting. Onto the netting is a design that reminds me of coral in the way that it has been executed. A fine silver colour metal thread is first used to create the organic feel of the pattern. Then onto that is a dense application off silver sequins, soft pastel blue beads and rhinestones. These are applied thickly enough that they sit up and off the silk to give a 3D effect. They run over the entire dress and over the netting as well. When this is on the body the effect that this creates is astonishing. I think it is one of the most beautiful textile examples I have ever seen. A long slit up the side allows a flash of leg to show when you walk or sit. It is magnificent. Besides being a very wearable dress for any special evening  this would make a stunning wedding choice for the bride looking for something not as traditional or as an option for an event over a wedding weekend. Excellent condition with a minor note below.

Fully lined in a node silk chiffon and closes with a hidden side set zipper. One of the shoulders has a Velcro close to help get in and out of it. There is a very tiny break in the net near one arm hole at the front and two teeny stress areas near seams. Please see the three photos after the label shot.

Bust: the front covers to 16" flat across and the sides are open right beside the bust
Waist: 13" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Length: 54" from top of shoulder to hem
Slit: 24" from hem up

Modern Sizing Equivalent: XXS-XS

Item# DD3833

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 one of the piece that were all sourced from one of my clients whose mother purchased the majority of her Couture pieces between 1973 to the mid and late seventies. This one is from Spring 1976 and we were able to find a similar dress to it that was photoed for L'Officiel that year. This one has its top buttons hidden set instead of showing and I think that it makes it even more refined feeling this way. It is an incredibly beautiful example of the work that the Chanel ateliers were doing during this time period. True Haute Couture pieces by Chanel are an extraordinary find as they are so very rare and hard to come by. 

While this one photoed well I think when the person that buys it sees it on person they will be blown away. It is even better in person and the richness and quality of the silk only really can be appreciated when you have it in hand. The dress has been made entirely by hand and the silk is of the highest possible grade. It feels stupendous on. The top is cut ot skim over you and the long sleeves are slightly voluminous above their stunning cuffs. A tie extends out form the neck and as mentioned above the buttons are all hidden set under the seam so the line is not broken down the front. The skirt falls from the waist where the pleats open up so that when you move it lightly moves and floats around you. The dress is a masterclass in pleat work and an example of how finely done a pleat can be. Each pleat is exactly the same size as its neighbor and each lies perfectly as it runs over the dress from shoulder to hem. Every pleat on the dress has been top stitched along its entire edge by hand. The shape of the waist is created by a series of tiny stitched that gently bring the waist in while still holding the vertical line of the pleats. Each cuff is created by doing small pleats at the end of the sleeve and then bringing them in and stitching them down. And the loop for the buttons is on one long strip of silk with opening for the buttons to slide through. Just amazing. It is truly brilliant. Excellent overall condition with minor notes below.

Fully lined through the body in an ivory silk with all interior seams hand finished. It closes with hand made buttons down the front and at each cuff. Finished to Haute Couture standards and entirely done by hand. Haute Couture number 54218. I see a small mark near the seam under the arm, a very faint mark near the hem and a faint mark on the upper back. Please see the photos after the label shot. Note that in person the colour is a rich feeling ivory and better then how it photoed.

Sleeves: 25"
Slightly inset shoulders: 14"
Bust: 17.5" flat across from side seam to side seam
Waist: 12.75" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 45" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD3732

Reference Photo: Model in Chanel, L'Officiel Magazine, 1976.

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