Fall 1983 marked the first fall ready-to-wear collection that Karl did for the label. So any piece from this first year is now a part of fashion history. This first year was instrumental to what Chanel was to become as a brand. He pulled inspiration from the twenties and thirties, something he continued to do throughout his career, and mixed it with that classic Chanel feel. He said at the time 'Even if she never did it this way, it’s very Chanel, no?'.... We were very excited to find the reference shot included here that has a variation of this dress made in a black lace. Documentation on these early collections is rare. It is absolutely gorgeous in person

This Chanel dress is so good. It is also a rare piece from Karl's first year at Chanel which adds to its collectability. The cut of the dress is timeless. The dress is made from a layers of black bias cut chiffon. The layers float over each other and play on transparency of the fabric. The bias cut makes it incredibly comfortable once on the body. The fabric is light in weight but with enough substance to hold the that wonderful curved shape that you see. The bodice skims over you and has a V neckline. The neckline is edged in a black satin ribbon. I love the little bow that sits at the base of the V for a very Chanel feel. The back is also dips into a V but there it is cut shallow and wide so that it sits higher up on the back of the neck. Attached to the ribbon edging of the neckline is a silk chiffon caplet that cascades all the way around you. It falls over each arm and drapes down the back to the waist. When you move even the slightest it moves with you for a pretty effect. The waist is seamed and cinched. The skirt falls under that and is cut to follow the curve of the hips. I love the little slant pockets that edged in the same black silk ribbon. These sit on each side of the hip. At about the knee the skirt flares out in a dramatic expanse of silk chiffon. More silk ribbon is set to separate the lower skirt and this last bottom part flares out and around you. It has a more transparent feel to it since it is only layers of chiffon.  When you walk the movement it creates is incredible. The final perfect touch are the little satin covered buttons that run all the way down the back and the final flat little flat blow at the base of the ribbon detailing. Beautifully constructed and it looks to have been worn very little if at all. It is an amazing example of Karl's very earliest work for Chanel. Excellent condition

Fully lined in a matching black silk chiffon and it buttons to close at the back. It is tagged a Chanel 42. The bias cut fabric does have some give between the ribbons.

Bust: to 17.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: 17.5" flat across from side seam to side seam
Bodice: 17" from top of shoulder to waist, and does come up a bit once on
Skirt: 41" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3867

Reference Photo: Fall 1983 Chanel.

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 Fall 2003 Chanel collection began with inspiration from the work of painter Kasimir Malevich. In Vogue's review of the collection Sarah Mower stated in part that; 'Lagerfeld mixed things up with his usual polymath flair... The decorative vibe ran through the collection.... In other words, all the usual playfulness of Chanel ready-to-wear was there, done with a light-handed touch that underscored Coco's legacy of flexibility—and fun— in the reign of King Karl." This is a wonderful example of his work from this time period and it is so versatile with the two pieces as you can wear them together or mix and match with other pieces you already own.

The dress set is stunning. It has an easy, sexy feel to it that I love. It is actually a set made up of two separate pieces. The inner dress is made from a fine high end black silk. It is suspended from the shoulders by two little silk straps. The bodice is cut to skim over you and the back dips into a low V. The seam at the waist that is set on a pretty inverted curve for a bit of a play on the twenties, a theme he often touched on. The skirt falls from there, skims over the hips and widens out as it nears the hem. The hem is cut on that same inverted curve as the waist seam at the front and then the back sweeps down into a longer slightly point hem that mirrors the dip on the back. Over that goes the top chiffon piece. This top piece is so well made that you can easily wear it to the back or to the front. I have included photos of it both ways for you. The top layer slips on and buttons into place with a row of glossy black buttons. It has that same  hemline as the under dress with one side set on a curve and the other ending in a point. Depending on which way you wear it you get a totally different feel when it is layered over the inner piece. Both the dress and its matching are edged in a black fur. The lightness of the silk give it beautiful movement once on the body. My photos do not come close to doing it full justice. Excellent condition.

Both piece are unlined. The inner dress closes with a hidden set back zipper and the over lay closes with buttons. Tagged a Chanel 40. It appears to have been worn very little if at all.

Inner Dress
Bust: 16.5" flat across from side seam to side seam
Waist: to 14.5" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Bodice: 16" from top of shoulders to the waist
Skirt: 28" from waist to front hem, 41" to longest point on hem

Overlay
Bust: 17" flat across from side seam to side seam
Waist: 16.5" flat across from side seam to side seam
Hips: 23" flat across from side seam to side seam
Bodice: 15" from top of shoulder to waist
Skirt: 35" from waist to longest point of the hem

Modern Sizing Equivalent: XS-SML

Item# DD3868

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

I have a small collection of historically important, key designer labelled vintage furs and fur trimmed pieces stored away in my archives that I will be slowly posting on the site over the next couple of years until I have none left. I will no longer be buying furs for the shop moving forward and have not purchased anything for several years now. I feel like times have changed and while there still is a place for vintage furs for some, including collectors and historians, many modern girls are choosing other options. Many of the pieces in my collection are representative of the designer during a set time period in history that was different then our modern outlook. I have decided that the best course to handle this controversial issue is to let the pieces I have go rather then sit in a cold storage unit. Fur coats are final sale.

Richard Tyler was the designer to wear in the 1990s and early 2000s. He won the Council of Fashion Designers of America New Talent award in 1993. In 1994 and 1995 he won the Council's Womenswear Designer of the Year award. Julia Roberts, Janet Jackson, and Sigourney Weaver were just a few of the stars who loved his work and his dresses made regular appearances on the red carpet. He was known for his impeccable tailoring and finishes and at the time employed some of the best tailor and seamstresses in the business. 

This dress is fabulous and I love having its full provenance to share with you. It made its debut on the Fall 2004 runway. That version did not have the bead work across the back. Then Marcia Cross was nominated for Best Performance in a Television Series, Musical or Comedy, for her role as Bree Van Kamp in Desperate Housewives. The series itself was also nominated for Best Television Series, Musical or Comedy, which they won. She had Richard custom make this dress for her and it was fitted with more inner structure and had the bead work added across the back. The dress was later auctioned off in a charity auction which is where my client obtained it. 

The dress is made from a printed velvet in a deep chocolate and is completely cut on the bias. The flowers are a muted copper gold tone and they catch the light beautifully as you move. It is incredibly soft and drapes like a dream. The front plunges low to just under the bust. Each cup softly drapes over the inner structure and then curves up and over the shoulders. It is set wide across so you see the collar bones and it creates a lovely line. Under the waist the velvet is gathered and that band of gathering is set on a curve that comes out from the waist and curves up to meet the plunge. The dress then skims over the waist under that and then flares out and widens as it nears the hem. The back is caught up just below the neck with a button and then it drapes over the back to the waist leaving a bare expanse of skin showing in the opening between. There is a beaded panel that goes across the back that holds everything place and adds a pretty detailing. This dips right to the waist and then the skirt falls to the floor and extends well past to create the dramatic trained effect that you see. My client did not end up ever wearing it so it only would have been worn the one time on the red carpet and for the charity auction. It is amazing and a wonderful piece of award show history. Excellent condition 

Fllu lined in a bias cut silk and has a built in inner bodice for support. The dress has no tags as it was custom made for Marcia. It closes with a hidden set side zipper and the inner bra hooks to close attaching to the beaded strap across the back. You could switch out the inner bra for a larger one if needed

Bust: the strap of the inner bra will go from 28" to 31" and the cups are about an A-B I think. Without the bra the bust is approx x 18'5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 64" from top of shoulder to front hem, 90" to the longest point of the back 

Modern Sizing Equivalent: SML-MED

Item# DD3877

Reference Photos/Video: (1-3) Fall 2004 Richard Tyler Runway Collection.  /  (4) A model wearing Richard Tyler walks the runway at the Fashion Forward Fundraiser in LA, June 2004.  /  (5-9) Marcia Cross, in Richard Tyler, at the Golden Globe Awards, 2005.

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 lace piece from this time period. It is so hard to find these in such wonderful condition like this on is in. Both the dress and matching jacket are beautifully finished. The dress is fabulous but was a challenging piece to photo since it is entirely cut on the bias and it is really meant to come to life on an actual body. My dress form is not doing it anywhere near the justice it deserves. If you even remotely love it ion the photos know that it is better in person

The dress has a higher set V scooped neckline at the front and the lace of the upper bodice is lined in a nude silk chiffon so you have the illusion that you can see your skin through it. Where the lace becomes opaque starting the top of the inner bodice it is cut into a modified sweetheart. Nestled in the V there is a little cluster of pink flowers. You get just a glimpse of the pink through the layer of black lace over the flowers and it is such a pretty detail. The waist is cut to be full and loose and the skirt falls under that in a column of lace. The skirt has yards of lace it in and when you stand still it falls in a smooth column but when you move it moves very prettily. There is a tier of lace that follows the angled seam at the low set hip and then a layer of lace falls over the inner silk skirt under that. At the back it has that same illusion panel trick over the shoulders and upper back. Over the dress goes the little matching jacket. It is cut to be very simple but with lots of impact. The shoulders are soft and it has no closures. Each sleeve goes to just above the wrist and then flares out in an incredible full circle of the same lace. This one also comes with its original belt. The belt is meant to sit low on the hips and is the final pretty detail with its silver metal buckle and inlaid rhinestones. Once on an actual body this set really comes to life. It is truly incredible and if you are a fan of these pieces from the late twenties / early thirties you know just how exceptional and wonderful it is. The entire thing weighs ounces. Excellent condition with minor note below

The dress is lined with a black silk through the body and nude silk chiffon through the upper bodice. It closes with a series of snaps down one side. The jacket is unlined with no closures. There are a slight marks on the lining of the dress under the arms but it does not show through from the exterior. Please see the last two photos. The hook on the belt seems fragile and easily bends but is there and functions. It may have to be reinforced at some point. For a garment nearing 100 years old it is in amazing condition

Jacket
Sleeves: approx 24"
Slightly dropped shoulders: 17"
Bust: to 20" flat across from side seam to side seam
Waist: to 17.5" flat across from side seam to side seam
Length: 20" from neck to hem

Dress
Bust: to 19" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 56" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# E701

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

Jacques Fath showed his first collection of just twenty garments in the spring of 1937. It was well received and he steadily built a strong clientele to become of of the busiest ateliers in Paris. He eventually expanded into the American market through the manufacturer Joseph Halpert. In 1948, Fath signed an agreement to produce two ready-to-wear collections a year with Halpert. Jacque did all the designs and then Halpert produced them in America. This was a clever way to avoid the high taxation on fashion that customs had implemented during this time period. This dress is from that early label and it has some extra historical significance since this agreement was one of the first of its kind between a couturier and a RTW company. Fath is considered to be part of the 'big three' post-war Parisian designers, along with Dior and Balmain. The Fath label was shuttered in 1957 after Fath's death three years earlier. One of his signature looks was a fitted hourglass silhouette and this suit has that in spades. It is gorgeous and a beautiful example of his work during this time period. 

This beautiful Jacques Fath suit dates somewhere between 1948 and 1954, the year that the Halpert company closed its doors and ceased producing. And if I had to guess I would put it more towards the earlier part of those dates as you can still clearly see the 1940s influence it has in its cut and line. It is made out of a deep navy blue silk that is so dark that it looks black in some lights. Many Fath devotees will tell you say that it was his designs that influenced Dior's silhouettes and you can see  that in the lines of this piece. It has that perfect cut of this time period that we do so often think of as being associated with Dior. The skirt is beautifully cut into a long lean pencil. The skirt is its original length which is almost miraculous after all these decades have passed and skirt lengths have gone up and down so much. The band at the waist flips inwards when you put it on so that there is no break to the eye at the top of the skirt and then it falls to just past the knees, coming in slightly as it nears the hem. At the back is a buttoned vent. Even though this is technically ready-to-wear it was very well done high end RTW and you can see that on how each button at the vent not only works but has a proper finished button hole to close. The jacket is cut loose and easy through the upper body as was the style during this time period and then the waist is nipped in. He loved adding button details and you can see that in the off-set to the side row of buttons that close the jacket. Their placement becomes an integral part of the design and adds so much detailing. The collar is round and neat. It follows the neckline all the way down to the first button. Each sleeve is slightly cropped and ends in a notched flare. I love this unexpected flare that adds to all the other stunning aspects of the suit. The silk keeps the suit light and easy to wear with enough structure to hold the shape. It is a piece that could easily go from day to evening with a change of shoes and accessories. It looks to have been worn very little if at all. Excellent condition 

Unlined with ribbon fished edges in the skirt. Beautifully finished throughout. The skirt zips with a painted metal zipper and has hook and eye on the waist band that flips inwards to wear. The jacket buttons to close. 

Jacket
Sleeves: 19"
Shoulders: 14.5"
Bust: to 18" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 24" from neck to hem

Skirt
Waist: 12.5" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 30" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3869

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 woman behind the Maggy Rouff label was Maggy Besançon de Wagner and she started her label in 1928 after working at the Drecoll Haute Couture atelier. After only one season in business the Maggy Rouf label became an official member of the Chambre de commerce et d'industrie de Paris. The label continued to produce Haute Couture until 1965. Maggy developed a staunch following for her work and for her gowns in particular. One of the hallmarks of her designs was that each piece had a main focal point. Like the stunning back panel on this dress for example. Draping techniques, as we see around the hip area on this dress, where also a signature element of her work. This is a stunning dress and her Haute Couture examples are rare and becoming increasingly valuable. 

This dress has all the hallmarks of Haute Couture that you want from this era. It is entirely made by hand and the fabrics that were chosen to make it are exceptionally beautiful. Two different fabrics have been combined to make the dress that you see here. The main body of the dress is made from a rich, luxurious silk brocade made from a gold metallic thread woven through on a purple silk. This gives the dress an exotic, royal feel, and the fabric seems to glow from within as it catches the light from every angle. The thread is woven into the silk and not just applied onto it as a print. This gives it a slightly raised texture to it that is beautiful to touch and feel. Maggy chose a fine matte silk satin in a brilliant purple hue to use for the straps that curve up and over each shoulder and for that incredible inset panel at the back. The dress is cut to skim over you and curve in at the waist for shape. It is cut straight across at the neckline and has a panel in a contrasting pattern that is draped across the bust. The waist is curved in and there is a hand draped gathering that runs softly across the front at the hips. This balances out the panel at the bust and helps to highlight and show your curves in that perfect Hollywood starlet feel of this time period. The back is jaw dropping. The straps curve down to a low set back to leave lots of bare skin exposed. It is gathered in at the back waist to create shape. Inset at the low back is a sweeping train of the purple silk satin. This cascades to the floor ad opens and widens out as it nears the hem to create a trained back skirt. At the small of the back a flat bow in the same purple silk is the perfect finishing touch. Inside the dress there is a fully boned and structured bodice along with a waist stay to hold the dress perfectly in place. This dress is an incredible piece of mid-century Haute Couture. Excellent condition.

The inner bodice is boned and set into the inner purple silk lining. This inner bodice layer closes with its own series of snaps and hooks that run down and behind a painted metal zipper that closes the outermost layer of the dress. An inner waist stay hooks to close. The back train is lined in a stiffened netting to help hold the shape and the hem is finished in dressmakers tape. Inner silk lining. The dress is completely made by hand to the Haute Couture standards of the period and is done with remarkable construction technique. There is one tiny area on the inner lining's hem that has a touch of fading, that of course this is not something you would ever see when on. Perhaps the tiniest bit of grubbiness to the trains hem but I am being extremely picky.  Otherwise appears to have been worn very little if at all

Bust: 18" flat across from side seam to side seam
Waist: 13.5-14" flat across from side seam to side seam
Inner hips: 19" flat across from side seam to side seam
Length: 58" from top of shoulder to front hem, the train extends another 10" ato its longest point at the back

Modern Sizing Equivalent: SML-MED

Item# DD3851

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