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.

This late 1970s Lanvin jumpsuit has the feel of an earlier decade but with a more updated cut to reflect its era. At that time Lanvin was focused on trying to appeal to their younger, jet set client with easy to wear pieces. This great little playsuit fits that bill perfectly. It is made out of an ivory and gold silk brocade and I love the swirling, slightly 3D feeling pattern that runs over the entire thing. The patterned parts are made out of gold metallic lame thread and these really catch the light wonderfully and give the suit a touch of high glamour. It buttons up at the front so you can choose to wear it as open and low as you dare.  Each button is hand covered in the same fabric so that they do not draw away from the design. It is sleeveless and the collar appropriately pointed for the era. It skims down and over the body with just the suggestion of shape through the waist. You could easily add a belt to cinch in the waist and add more shape if you wished. The shorts part of are cut wide like a loose boy short. I love it. Excellent condition.

Fully lined in an ivory silk and closes with the buttons down the front.

Bust: 17.5" flat across from side seam to side seam
Waist: 15" when measured flat across the back from side seam to side seam
Hips: 18.5" flat across the back from side seam to side seam
Full length: 33.5" from neck to bottom hem of short with about an inch turned under
Inseam: 3.25"

Modern Sizing Equivalent: SML-MED

Item# DD3418

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.

This is perhaps one of the most recognizable dresses that Halston ever designed. Halston used this sequin technique predominantly between about 1973 to 1978. Instead of layering and overlapping the sequins, they were laid out flat, side by side, to cover every inch of the fabric. This dress is sometimes dated as being from 1983 because of the photo I have included here of Dina Merrill wearing hers but people forget that these were still the days where you re-wore pieces from tour own closet. Every source I have seen, including The Metropolitan museum and numerous high end auction houses have dated it to 1973. This is a stunning and rare version of one of his most famous dresses and it could not have more of an impact once it is on. It is beautiful

1973 was also the year that Halston won his fifth Coty Award and was one of his best years to date. This dress, with its gorgeous cloud print is both rare and iconic. I have the twin of this exact dress in my archives and it is one of my own most cherished pieces. I was extremely happy to have another come in that I could put into the shop for you. The base of the dress is made from a stretch jersey as the inner layer and the outer layer is the same fabric that has that wonderful cloud design printed on to it. That outer layer is what the sequins are attached to. The sequins have all been placed and attached by hand and completely cover the dress from shoulder to hem. The sequins are a clear with an iridescent finish reflect back the light beautifully. This makes the dress absolutely incredible to see in person. They also make the dress feel almost alive as it skims over the body and the the light reflecting off the sequins makes it really come to life. It skims over the bust and waist, hugs the hips and then flares out slightly as it nears the hem. That neckline is scooped and rounded. The openings for each arm are also cut on a curve and this creates the slightest bit of a capped shoulder and sleeve effect. It is amazingly comfortable to wear because the jersey and the stretch of the jersey also make it easy to fit. Excellent condition with a note below.

It closes with a hidden set, side zipper and the fabric has stretch. Fully lined in a white stretch jersey as described above. Hand set sequins. There are some sequins missing at the back about where your knees would bend and just above when you sit. There are sequins in the inner seams that could be used if this bothered you. It is so densely covered that its somewhat irrelevant. It is priced with this in mind. Please review the two photos after the label shot. The stretch of the fabric should allow it to fit a range of sizes and the measurements below are the comfortable range when lying flat.

Bust: 16-18" flat across from side seam to side seam
Waist: 13-15.5" flat across from side seam to side seam
Hips: 19-22" flat across from side seam to side seam
Length: 53" from shoulder to hem with approx 2" turned up under the hem

Modern Sizing Equivalent: XS-MED

Item# DD3374

Reference Photos: (1) Dina Merrill at NBC studios, Burbank, California, February 1983. From the book 'Halston' by Phaidon.  /  (2) 1973 Halston Dress from The Met Collection Online.  /  (3)Halston Dress from The Indianapolis Museum of Art.

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

Alexander McQueen designed the 2005 collection 'It's Only A Game' around the idea of a chess match between America and Japan. Each ensemble corresponded to a particular chess piece. Vogue said of it; "The presentation summed up all his experience in sharp tailoring, spectacular romantic dresses, couture richness, and downright showmanship." and that it had a "girlish Edwardian theme, starting with tiny sailor jackets, school blazers, ticking-striped shirts, and gray knee-length shorts, then adding lovely white lace blouses and dresses". The twin of this set was presented on the runway that day for Look 8. This show is often referred to as one of his most iconic presentations.

The set is incredible and an important piece of the Alexander McQueen history. It is instantly recognizable and from one of the most important collections. It is a work of art and the fabric alone is astounding. It is made from a fine, light silk that n person is perhaps a touch more on the taupe side then how it photoed here. Into that silk are very fine embroidery that forms the design that you see running over the jacket and the skirt. The skirt is pleated and the pleats close around the hip and then open to give it the volume that you see. The fabric is very light but the way that it has been sewn and pieces together give it the volume and shape you see without needing any interior skirting. I particularly love the fine notched scalloped edging around the hem. The jacket is equally incredible. The lace top you see peaking out from under the jacket is actually attached and part of the jacket. The tailoring is masterful and shows his mastery of line. It has a Edwardian/Victorian flare to it with its row of carved mother of pearl buttons that run down each side of he jacket and little flap pockets on each hip. The attached top underneath is a fine lace and feels the equivalent to a fine antique lace. I love how this buttons al the way up to a high neck and how the ruffles around the neck are the same as those on each sleeve that peak out. The little grosgrain band that extends out from the interior of the jacket is the perfect finish. This is an incredible piece of Alexander McQueen history. Excellent condition

The jacket is lined in a textured striped cotton suiting lining and the edges of the interior with a silk grosgrain fabric. It closes with the buttons down the front. The skirt is unlined and closes with a side zipper. Both pieces are tagged a size 44. It looks to have never been worn or worn very little.

Jacket
Sleeves: 25" to end of lace sleeve
Shoulders: 15"
Bust: 17" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 22" from neck to hem

Skirt
Waist: 13.5" flat across from side seam to side seam
Hips: open
Length: 27" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3369

Reference Photo: Spring 2005 Alexander McQueen Runway Collection, Look 8. Model: Dawning Han.

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. You can see a striking resemblance to the  Fall 1954 "Ecume" dress combined with elements from the "Clorinde" dress from that same season. 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 that this dress was derived from the different elements of these, while tweaking the details to be more perfectly reflective of the clients personal style. It is wonderful and a joy to have it come into the shop.

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) Model Ann Farrar in Pierre Balmain A/W 1954-55 "Ecume" Dress. Photo by Philippe Pottier.  /  (2) Backstage at Balmain, 1954. Photo by Mark Shaw.  /  (3) 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.

This fabulous faux fur coat is a very rare piece indeed. It is a wonderful example of Thierry Mugler's work with its amazing over-sized hood and nipped in waist. The exaggerated narrowing of that cinched waist is made even more so by the curving line of the hips that flare out dramatically. The excess amount of fabric used n the lower part of the coat makes it even more dramatic and that combined with the thickness of the faux fur cause that flared out line to happen from every angle you see it from. The color is a very creamy ivory with a touch of a yellow tone to it depending on the light. There is a hidden snap under the belt at the front and another at the tip of one collar so you could potentially close it right up. The collar is wide and full and this extends out to a fabulous deep hood. The waist is cinched in with a faux leather belt with a silver colored metal buckle. This is an early foray by a high end designer into attempting to find a substitute for real fur and so has historical importance from that perspective as well. Excellent condition

Fully lined in an pale gold toned silky satin and has two hidden snaps at the front as described above. It then belts with the original accompanying belt. Pockets on each hip. Hand set rounded padding in each shoulder. Tagged a vintage Mugler 40. Because of the way it is cut it should work on a variety of sizes

Sleeves: approx 22-24" from natural shoulder
Dropped shoulders: no defined seam
Bust: 18" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: open
Length: 31.5" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# C527

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.

The early eighties are a time period often overlooked in the Paco Rabanne history but there are some lovely pieces that came out of this time period. This dress is definitely one of them. It is made from a white crepe and has a nod to the earlier mod shaped shift dresses that defined his career. The white of the fabric is still crisp and this contrasts perfectly against the rope and chain detailing that finishes the edge of the neckline, sleeves and hem. Building on his iconic chain link pieces, all of the edges of the dress are finished with a series of open gold toned metal grommets that are linked together with little silver circles of metal. A rope runs through the upper edges for a slight nod to a nautical feel. It is very chic and with the recent revival of the Rabanne house, it feels very modern. Excellent condition

Fully lined in a white silky satin rayon and closes at the back with a zipper.

Bust: 18" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 32" from shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3323

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 1981 Haslton was still in full control of his brand. He had not yet signed the international licensing agreements (that was to happen in 1983) that would be the beginning of his downfall. In fact, at this point in the Halston history, he was at the top of his game and anyone who was anybody was wearing the Halston label. His prices were sky high and the work put into the pieces was impeccable.

The fabric for his beaded and sequin pieces were being made in India. Halston personally chose the fabrics and materials that were used for each piece of his main line collections. The 1981 collection was especially intricate and the majority of the runway garments were heavily beaded and/or sequinned. In the book Halston, An American Original, the twin of this dress is shown as it appeared on the runway for that season. It is interesting that he chose to show it belts belted with a sash so that the length is shorter. The dress is extraordinary and all of the bead work on it is completely done by hand. The beads are tightly spaced and all have been hand applied onto the fabric which you can clearly see on the back of the fabric. I love the pale mix of pastels colored beads that were used as it gives the dress a soft and pretty feel. The fabric that the beads have been applied to has just the slightest touch of transparently to it which I love. The silhouette is very simple with a scooped front and back and then it just gently widens out as it reached the hem. This makes it very easy to wear and very flattering on the body. Really a wonderful and rare example of his work during this time period. Excellent condition.

Unlined and has no closures. It slips over the head to wear so you have to be small enough to get it on without a opening. You could probably add a side zipper along the seam if needed. The bead work is completely hand done.

Bust: 17" flat across from side seam to side seam
Waist: 16.5" flat across from side seam to side seam
Hips: to 19.5" flat across from side seam to side seam
Length: 41.5" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3322

Reference Photo: Spring 1981 Halston runway collection from the book 'HALSTON: An American Original' by Elaine Gross & Fred Rottman.

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

This dress is from the Spring 2012 collection from the house of Valentino. During this time period both Maria Grazia Chiuri and Pierpaolo Piccioli were acting Creative Directors. On the runway there was a shorter strapless dress shown and a longer version with cap sleeves. For the stores they seemed to have combined the two looks into this strapless version with a longer skirt. Vogue's Nicole Phelps reviewed the collection and said in part:

"The designers turned out their best collection yet—one dress more seductively, calmly lovely than the next, many of them walking out on flat sandals or lace espadrilles that helped give the outing its fresh feel. "Fashion is a dream, and in this moment we need dreams," Piccioli said beforehand...The designers opened with short frocks in off-white or black in a cotton lace fabric that made them into everyday sort of propositions, or they inset lace into paper-thin leather for a halter dress and a snappy trench..."Beautiful" is the word we heard over and over as we left the show."

And beautiful the dress is. This is still once of my favorites collections from the modern Valentino and I was very pleased to get this example in the shop. These are the kind of pieces to buy now, treasure and know they will only increase in importance as time goes by. The dress is strapless with a built in lingerie weight stretch corset that gives you support. The waist is nipped in and has a leather cord that runs through it and adds some detailing and additional shape. The skirt falls from there and widens out as it nears the hem. It is finished with a wide ruffle that gives it some movement and extra volume. The fabric is lovely and is a cotton and nylon mix that has a artisanal feel to it. It has cut work areas running all through it and it back with an almost weightless cotton. It is stunning and looks to have never been worn. Excellent condition.

Fully lined in a light cotton muslin and the bodice has an additional lingerie stretch, lightly boned foundation built in that closes with its own zipper. It closes with a hidden set side zipper. A leather tie runs through the waist. It is tagged a modern 42 but runs extremely small. Please check the measurements provided. It would best fit a 0-2. The detail shot of the cotton lace is the best color reference photo.

Bust: 15.5" flat across from side seam to side seam
Waist: 11.5-12" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Bodice: 9" from top of bodice to waist
Skirt: 36" from waist to hem

Modern Sizing Equivalent: XXS-SM

Item# DD3322

Reference Photos: S/S 2012 Valentino Runway. (Look 2, Model Julia Nobis / Look 4, Freja Beha Erichsen)

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 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.

This is a lovely wedding gown by Alber Elbaz for Lanvin that we found reference to in a blog from 2012. The gown is just gorgeous and I love that is is not a traditional white but rather used a combination of a soft blush nude silk at the top and the skirt is an almost soft pastel ivory grey. The top is a fine silk in that soft pinky nude that is suspended from the shoulders with straps that have been detailed with pearls and crystals. These are set on a fine silk netting for a romantic and delicate feel. At the back they trail down past the edge of the top for a pretty touch. The waist is detailed with a wide silk grosgrain ribbon and this extends around to the back where it becomes a large bow that has long ties that fall almost to the hem of the back skirt. The skirt is amazing and very full. The front falls in a sleek column that gains more width as it nears the hem. The back is gathered in large pleats and all of the volume you see is from the way the skirt is cut and gathered combined with the fabric that was used. I did not add any additional crinolines under this for the photos, though if wanted it to be even fuller you easily could wear on underneath. The back is trained and has the most beautiful lines as it trails out and back. Excellent condition with one small note to review below

The top is a double layer of the silk and the skirt is unlined. It closes with the signature exposed Lanvin zipper at the back. The attached ribbon at the waist can be tied as you wish. It appears to be unworn but there is some scuffing and grubbiness to the back hem, most likely from being stored on a rack. I photoed the worst spot that is on the very end of the train. It may come out with additional cleaning or could be shortened slightly to eliminate. Note the colors have a slightly more pink/blush undertone then how it photoed. The colors are better in person and softer

Bust: to 16" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: open
Bodice: 14.5" from top of bodice to waist
Skirt: 50" from waist to front hem, 65" from waist to back hem

Modern Sizing Equivalent: XS-SML

Item# DD3297

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.

George Stavropoulos was known for his evening wear and his signature looks often involved draping and the use of multiple layers of silk done on a bias cut. He focused on cut and fabric to convey the beauty of each piece. It was said that his gowns "seemed to float on air". 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.

I love the light and airy feel of the dress that is created by the yards and yards of silk chiffon used for the skirt. This is mixed with a low waist top that is constructed out of a ivory embroidered lace. To highlight the pattern that runs through the lace little iridescent clear beads have been hand set and scattered over it. The silk layers that make up the skirt are all cut on the bias and this gives it lovely movement. The bodice is sleeved and the neckline cut wide across with very light padding in the shoulders for shape. The back is cut into a V so you get a bit of skin showing there. The top layer of the bodice is made of an embroidered cut work lace done in a creamy ivory. Note that in person it is far more a true ivory that the deeper color it has photoed as. The waist has no defined seam and skims over to a the upper hips with gathers on either side. Excellent condition

Fully lined in an ivory silk chiffon and closes with a hand set, painted metal zipper at the back. Light padding in each shoulder. Very well finished. In person it is a true ivory. The photos have given it a bit of a taupe feel and it is not that deep a color in person.

Sleeves: 23"
Shoulders: 15"
Bust: to 18" flat across from side seam to side seam
Waist: to 16" flat across from side seam to side seam
Hips: open
Length: 62" from top of shoulder to longest points of hem

Modern Sizing Equivalent: SML-MED

Item# DD3254

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.

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.