Jean-Louis Scherrer was one of the great French couturiers in the grand Parisian style. He counted Sophia Loren and Jackie Kennedy as fans in his heyday and his work in the 1970s especially was wonderful. Opulence, hand beading and rich passementerie were his trademarks. He launched his own Haute Couture house after working at Christian Dior and by 1977, the year that this dress was made, he was just reaching the top of his game as a couturier. It is an incredible find and even more beautiful in person

I love the soft yellow silk organza that has been used for the skirt and the shawl in this dress. This choice of fabric allows it to have the volume that you see but without adding any weight at all. It also is a soft and romantic contrast to the sequin work on the bodice. The bodice is strapless and cut to be fitted to the bust balancing the volume of the skirt perfectly. Thousand of tiny sequins have been hand applied to create that stunning floral design that you see. As you look closer the work just gets more amazing. The edges of the green sequin leafs fro example are all finished with the tiniest glass tube beads possible. Little glass crystals edge other parts of the design and create a border across the top of the bodice. The workmanship is exquisite and the care and time to have created the design using these very small sequins and beads is astonishing. Under the bodice the skirt is cut to skim over the tops of the hips and than flows outwards with its first ruffle. There are three ruffles in total making up the skirt and each is cut to be very wide and each is made out of several yards of fabric. The skirt under the ruffles gradually widens as it reaches the hem. I photos most of the full length shots here with a light crinoline underneath so you could get an idea of just how full the skirt could be. The final full length shot is without anything underneath and even then it has stunning volume. The movement and airiness the skirt creates in person is amazing. At your smallest movement the ruffles float around you. The dress comes with a matching shawl that is so large it really could be considered to be more of a cape. It is made of the same silk as the skirt and is finished with the same ruffled treatment we see on the skirt. It can be wrapped or just lightly held. The entire dress is finished to Haute Couture standards and it is even more beautiful in person. Excellent condition with a small note to review below

Fully lined in the same silk organza that is used on the exterior. All of the work throughout is done by hand done to the edgings of the inner seams. It zips to close with a painted metal zipper and the exterior skirt snaps to close over the zipper. An inner waist stay hooks to close. The bodice is lightly boned. I see one tiny dot of a mark just under the bodice seam and a tiny repair near the base of the back closure. Numbered tag 002576

Bust: 15" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: open
Bodice: 9" from top of bodice to waist
Skirt: 42" from waist to hem
Shawl: 9 feet long x just over 5 feet wide

Modern Sizing Equivalent: XXS-XS

Item# DD3393

Reference Photos: (1) 1976-1977 Fall-Winter Women's haute couture runway show.  /  (2) Jean Louis Scherrer with model, 1977.

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 dress. It is from the 2009 Resort collection and was Look 12 of the presentation. In 2009 Valentino was headed by Alessandra Facchinetti. Vogue's Laird Borrelli-Perrson said of the show; 'In her third collection for Valentino, Alessandra Facchinetti sketched a portrait of a lady in soft hues—pearl gray, icy white, and blush pink—punctuated with pops of chartreuse and rich fuchsia. The chic yet restrained suits she showed for day had soldier jackets with peplumed backs and rows of tiny covered buttons. Release came in the form of ruffles, which fluttered throughout the collection but found their most elegant expression in organza gowns. Smartly paired with metallic flats, these embraced the bodice before wafting to the floor.' This is one of the three stand out organza dresses shown in this collection and I think it was the best one of the three.

This is the kind of dress that you see in real life and it makes you swoon. As good as it looks in the photos it really comes to life on the body. When you move in it the air around you picks uo the silk and organza and it really has beautiful movement. It is made out of a combination of a black silk organza and black silk chiffon. This is layered over inner layers of more silk chiffon. On the skirt there is a doubled inner silk lining topped by two layers of chiffon and then the ruffles are all made from the silk organza. The bodice is made out of the silk chiffon and I love the intricate pleat work that covers it and draws your eye inwards to the detailing. Down the centre front the dress is cut to be fairly sleek in feel with a v cut neckline and nipped in waist. It flows to the floor in a long column and there are ruffles that run down either side of the skirt. These ruffled panels run from the waist all the way down to curve out and around each side to the hem. The effect this creates is wonderful. The back is cut to be longer then the front so you get just the hint of a trained effect. Both the front and back plunge to the inner straight cut bodice and the straps are wide. They curve up and around the shoulder and then angle gracefully in towards the centre of the low back. The entire front is finished with a heavy application of little round glossy black circle paillettes that give the dress a subtle bit of embellishments and glitz. These are denser under the waist line of the dress and take on an almost chain mail feel yet they are very light in weight. The entire dress weighs ounces. It is so pretty and even better in person. It appears to have never been worn or worn very little. Excellent condition 

Fully lined in silk and constructed as described above. It closes with a hidden set side zipper. No size tag present. It appears to have been worn very little if at all. It retailed for over $6000 in 2009. Maybe a paillette missing here and there but nothing obvious. 

Bust: 17.5 " flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Bodice: 15" from top of shoulders to seam under bust
Skirt: 45" from was it to front hem, 50" to back hem

Modern Sizing Equivalent: SML-MED

Item# DD3783

Reference Photo: Resort 2009 Valentino Collection. Look 12.

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

Emanuel Ungaro launched his label in 1965 after stints at both Balenciaga and Courreges. He was a brilliant designer who was known for his extravagant fabrics and flamboyance. He often participated in the design and execution of new fabrics and for him the design process started there. His work always has a sense of exuberance and joy to it and he mixed fabric and prints with a master's eye. When hunting for the date of this dress I found a strikingly similar dress from the runway that had additional shoulder detailing but is otherwise remarkably like this one. That reference photo is included and it gives you a great idea of how amazing this one will be once on an actual body. 

The fabric and colour of this dress are fantastic and no matter how great it looks in the photos you will love it even more in person. It is made out of a coral silk that is heavily shot through with a gold lame thread. This lets the fabric catch the light from every angle and intensifies the coral colour. The fabric is light in weight and despite the elaborate construction of the dress is not at all heavy once it is on. Inside the dress is a built in structure to give you support so that despite the lightness of the fabric the intended shape is held perfectly in place. The strapless bodice is cut with a modified sweetheart neckline and it is meant to hug the body. It is elaborately gathered and fitted around the bust with hand placed and gathered folds. These folds that emphasized the curves of the body were a signature of his and really made his pieces flattering once on. On this dress the gathers and shape run from the bust right down and over the hips so you get curves on curves. Under the bottom seam the skirt is set and has a series of silk panels set all the way around you. Each panel has been individually set on an angle to create the ruffled effect that you see. The way they are set onto the skirt allows each piece to move freely so that whenever you move they move. A little bow at the back is the perfect finishing touch. It is gorgeous and appears to have been worn very little if at all. Excellent condition.

Fully lined in a coral silk and closes with a back zipper. The bow snaps into place over the top of the zipper. The interior of the bodice is boned for support. Tagged a vintage Ungaro 6. It appears to have never been worn, or worn very little.

Bust: 16" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Length: 29" from top of bodice to hem

Modern Sizing Equivalent: XS-SML

Item# DD3417

Reference Photo: F/W 1988-89 Emanuel Ungaro Runway Collection.

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

Leger worked for Karl Lagerfeld at Fendi and followed him to Chanel in 1983 when Lagerfeld took over there. In 1985 at the age of 28 Leger began designing under his own name for clients. His dresses were one of the stars of the nineties and were among the most coveted and iconic of the labels during that period of fashion. His bandage dress in particular were one of his strongest creations and the originals were only produced between 1989-1997. This dress is even more special as it is one of his couture pieces. A mannequin would be created based on the exact measurements of his client that the dress was made for and each is a one of made to fit that client exactly. In 1998 the company was sold to BCBG and the making of the bandage dress were halted along wth the dismissal of Herve from his self named brand. Dresses from this time period where he was making and designing the dresses himself are very rare and to find a couture one even rarer. It is a very special piece. I was very happy to find a version that walked the runway for the Fall 1997 show and the runway shots show you how it looks when in an actual body aNDA the shoulders worn off shoulder like they should be 

This dress combines that iconic striped bandage technique he used with a bias cut silk skirt and stunning lace and bead work. The bodice is made entirely using his famous bandage technique where elastic strips of fabric were sewn together to make girdle-tight foundation. The allows the bodice to mold and shape itself to your body and  create that perfect hourglass feel. The bandage portion the dress runs from the neckline to just past the hips. The bodice was then covered in a soft, fine lace that allows the nude coloured elastic underneath to peak through. From a distance this gives the illusion that you aren't wearing anything underneath the lace. The lace is held in place by vertical banding of beadwork that are set on slight angles to further add to the illusion of shape. More beadwork runs around the neckline and over the straps and then again t the bottom where the bodice meets the skirt. The front is shaped to mold over the breasts and the straps are set wide. On an actual body these can be worn more off the shoulder to leave the collar bones completely bare. At the back the neckline scoops down to leave the upper portion of the shoulders bare. The skirt is set in under that and flares out around you to move with your slightest movement. I love this contrast between the very fitted top and the more flowing skirt. The silk used for the skirt is light in weight and has no lining so it really moves wonderfully. It is stunning and a fabulous example of his made to order couture work. This is a dress that really needs a body to come to life and once on it will blow you away.  Excellent condition 

Unlined and closes with a hidden set back zipper. Tagged a M. The fabric does have stretch and it can expand but does still stay tight and fitted with the elastic interior. The range of measurements given below are of it laying flat but it will potentially stretch to a couple of inches more. 

Bust: 15-18" flat across from side seam to side seam
Waist: 12-14" flat across from side seam to side seam
Hips: 16-18.5" flat across from side seam to side seam
Length: 54" from off shoulder strap to hem, approx 57" once on

Modern Sizing Equivalent: XS-MED

Item# DD3581

Reference Photos: Fall 1997 Herve Leger Runway.

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 Bessi company was launched in 1950 but it was not until 1968 that it started producing the printed pieces that the label is now associated with. Like Pucci he signed all his prints and created them himself. In terms of style, construction and quality, Bessi dresses were often on par with Pucci and Leonard, especially the ones from the late sixties to mid seventies. This one is just lovely and I love it

This dress is made from a fine silk jersey and the colour combination is a little unusual as it is not the typical super bright prints that you more often see with Bessi. The main colour of the jersey is finished in a softer light purple colour. Worked into the print are little pops of different shade of pink. The floral and swirling design covers the entire surface of the dress. A contrasting border defines the cut of the dress and runs around the waist, up the front of the skirt and then defines the collar, cuffs and hem. The sleeves are cut long and I love that little pop of pink at their cuffs. The bodice is cut to skim over the bust with a V neckline. The waist is cut on the more loose and easy side and the skirt flows to the floor and widens softly as it reaches the hem. At the front there is a slit that runs up and in between the print there so that when you walk or sit you get a flash of leg. It also allows the skirt to have a bit more movement when you move. The silk jersey is very light and this allows the dress to drape beautifully on the body. It is a stunning dress. Excellent condition

Unlined and closes at the back with a painted metal zipper. Hand finishes throughout. The fabric is also signed throughout. The fabric has some stretch which makes it very comfortable to wear. Very well made and it looks to have been worn very little if at all

Sleeves: 23"
Slight drop shoulders: 17"
Bust: 17-20" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Hips: open
Bodice: 14.5" from top of bodice to top of waist
Skirt: 42" from top of waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD2143

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

James Galanos was just 27 years old when he launched his first label called Galanos Originals in 1951. By 1954 he had won a Coty award and the Neiman Marcus award. By 1958 he was producing clothing that could range in price from $200 to $3000, an astronomical price for ready-to-wear for that time period. when you convert that to modern dollars and realize that it would be just under 30k for his upper range pieces. Part of the reason for those high price tags was that his ready-to-wear was made to couture standards. The workmanship and craft put into them were made to a level that was on par with the official French couturiers. Galanos was a master cutter and draper. Grace Kelly was an early fan and other couturiers looked to his work as inspiration. His work is held in all of the major museums around the world and he is one of my personal favourite designers. I have had this dress in a version that had a sleeved overlay and I loved finding this one that has a more bare feeling bodice. It really allows the emphasis to be on that beautifully draped skirt 

The dress is made from a beautiful silk chiffon that is completely covered with an oversized flower print. The colour combination of the deep rich purple with the pop of deep green for the leaves in the print is just gorgeous. The skirt is cut to suggest that it is simply wrapped around you and could be unwrapped at any moment. It is attached most of the way around and then it simply hooks into place at the side of the waist. This clever little way to set it into the seam is what gives it that lovely curved line at the front. All of the excess fabric has been gathered along that side so that the silk cascades down in a lovely draped manner. The skirt is made up of thee full layers of silk chiffon. This is an important point in itself. Silk chiffon is notoriously difficult to wrk with and he was a master at this layering technique. The draped front lets you see all three layers and the edges of the three lates become their own design element. There is the top floral printed layer, a middle layer that is a solid purple in the same tone, and then the innermost layer that gives you that unexpected bright shot of green. When you move you get flashes of that green and the effect is fantastic. The bodice is simple and perfect. It has a slightly scooped neck and it cut into an say to wear tank that dips low at both the front and back. The dress comes with its long matching silk sash that you can wrap around the waist as I have done for these shots, or you could tie it at the neck or use as a head scarf. A stunning example of his work and beautifully finished. Excellent condition

Fully lined in a bright green silk chiffon. It closes with a hand set painted metal zipper. Bias cut so there is a little  with the measurements which I have given below. Ribbon edge finshes and hand done throughout. It appears to have never been worn or worn very little. The bias cut and easy fit combined with the sash to bring in the waist mean it should fit a range of sizes 

Bust: to 20" flat across from side seam to side seam
Waist: to 15.5" flat across from side seam to side seamed can be cinched in with the sash
Hips: open
Bodice: 16" from shoulder to waist
Skirt: 46" from waist to hem
Scarf: 15" x approx 140"

Modern Sizing equivalent: SML-LRG

Item# DD3576

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

Youseef Rizkallah joined the Malcolm Starr label in 1969 and remained as the head designer until 1975. The years that Youssef headed the line are among some of my favourites. While at Malcom Starr the piece that he designed pieces had  both his name and the Malcolm Starr International name on the label. Rizkallah was born in Egypt and studied at the Ecole de dessin appliqué and the Ecole des arts decoratifs in Paris. His designs seem to combine that sense of couture drama and cut that he learned while in Paris with the color and vividness of his homeland. This is the second time I have had this dress in the shop. The first time was an all gold and blue version and I am very happy to have this red and gold version this time.

This stunning dress is one of my favourite Malcolm Starr designs. In general I love the Rizkallah years. They have lots of drama and impact and this dress is a gorgeous example of his work. The fabric is gorgeous. A heavy dose of gold metallic thread covers an underlying pattern in corals and red, all on an light silk brocade feeling fabric. The effect is amazing. It is almost like wearing a piece covered in gold leaf. The dress at first glance looks substantial but in reality it is actually shockingly light in weight. It is just heavy enough to hold the shape and volume you see but it is so easy to wear. The bodice skims over the torso and is cut to be a little more fitted. The sleeves are capped and the waist line is set higher up to sit just under the bust. The front neckline is notched and plunges down to meet the band under the bust. Around the neck, the waist and at the end of each sleeve is a detailing of gold braid that has rhinestones set all along its length. I love the flat bow that sits just under the bust made from that same gold and rhinestone cording. The skirt cascades to the floor, widening out as it nears the hem, and I love the fullness of it. Pockets sit on each hip. The silk used is very lightweight and the fabric really holds the shape of the skirt beautifully. I love that it is lined in a soft coral silk. That unexpected flash of colour is spectacular against the gold. It is just a beautiful dress. Excellent condition.

Fully lined in a coral silk and closes with a painted back metal zipper. The inner skirt lining is finished with a wide band of dressmakers horse hair at the hem to help support and keep the shape of the skirt over it. Hand finished. The zipper will open easily if the sides are pulled apart but it stays up once zipped.

Shoulders: 15"
Bust: 17.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 11" from top of bodice to waist
Skirt: 42.5" from waist to hem with 2.5" turned under the hem

Modern Sizing Equivalent: SML-MED

Item# DD3746

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 dress by Pierre Cardin and I absolutely love it. There is a certain silhouette that is closely associated with Pierre Cardin but he was actually a designer that had a huge range. At times some of his other silhouettes get overlooked and they should not be. This wonderful Haute Couture example that I believe dates to the late seventies or early eighties. It is a beautiful and elegant piece that may not be as 'mod' in feel as some of Cardin's other pieces during this time period but shows the breadth of his talent and the high level of glamour that he was capable of.

The dress is made from a silk that has a dense application of hand placed sequins running over its entire surface. The colour of the sequins is a red that has a touch of an orange undertone to them. They are laid out flat side by side to catch maximum light. This gives the dress an almost molten feel that is stunning from every angle. The shape is kept very simple so that those spectacular sequins take centre stage. The front is cut onto a peak and then from that peak straps extend out, cross over themselves and then curve over each shoulder to meet the fabric at the back. The back is cut low and deep to leave a wide expanse of bare skin. It falls in a sleek column over the body and is brought in with seaming to shape it through the waist. It curves over the hips and stays fairly snug to the legs and then the bottom skirting flares out. That bottom skirt is a full 14" high and if you lay it out flat it is a true circle. The way it is set into the skirt lets it fall in soft curving ruffles all around you. When you walk it kicks out and has beautiful movement to it. The dress is very chic and very femme fatale. It is a dress that may seem unremarkable on a hanger but transforms into an insanely good piece once on the body. It appears to have been worn very little if at all. Excellent condition

Fully lined in a red silk and closes with a hand set back painted metal zipper. Hand set lining. It is cut on the bias so has some play in the measurements. The comfortable range is noted below. A tiny bit of patina on the back of sequins near the neck and at the very edges here and there. Very minor  

Bust: 15-18" flat across from side seam to side seam
Waist: 15-16.5" flat across from side seam to side seam
Hips: 18-21" flat across from side seam to side seam
Length: 7" from top of shoulder to hem with 1.5" turned under the hem 

Modern Sizing Equivalent: SML-MED

Item# DD3748

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

How absolutely gorgeous is this jumpsuit? It was made by Gino Charles for Malcolm Starr, which was their line targeted towards a more younger clientele. I love the colour combination with its two shades of pink mixed with that wonderful deep purple and white. The fabric is a cotton mix and it has a raised texture worked through the fabric that makes it quite interesting and makes the print pop off of it. The sleeves are short and the front is meant to skim over you. The waist is loose and easy and you could easily add a belt if you wanted more shape. I love the neckline and how it is slit down the front. The cut of it is highlighted further by a wide band of purple cotton velvet. To give it a little more detailing a band of grosgrain is set down the centre of the velvet and then a silver cord in the centre of that. This is all pieced to curve around the collar and then runs down the full front right past the waist seam. The pants are very full and flare out in a gentle swoop of fabric as they fall to the floor. Each is a full 36" around. At first glance it looks like full length dress but as soon as you move you realize it is a jumpsuit. Pockets along each hip. It is a beautiful and dramatic piece. Excellent condition.

Fully lined in a white silk. It closes with a back painted metal zipper. Each leg is a full 36" around the bottom hem. Hand finished throughout with ribbon edge finishes to parts of the interior seams. There is a good 3" turned up under the hem of each leg if you meed more length. It looks unworn on the exterior but there are some minor marks to the lining. Please see the last photo after the label shot. 

Shoulders: 13.5"
Bust: 17" flat across from side seam to side seam
Waist: 13" when measured flat across the back from side seam to side seam
Hips: to 21" flat across the back from side seam to side seam
Bodice: 15" from the neck to the waist seam
Pant length: 41" from waist to bottom hem
Inseam: 28"

Modern Sizing Equivalent: SML-MED

Item# DD3739

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

James Galanos was just 27 years old when he launched his first label called Galanos Originals in 1951. By 1954 he had won a Coty award and the Neiman Marcus award. By 1958 he was producing clothing that could range in price from $200 to $3000, an astronomical price for ready-to-wear for that time period. when you convert that to modern dollars and realize that it would be just under 30k for his upper range pieces. Part of the reason for those high price tags was that his ready-to-wear was made to couture standards. The workmanship and craft put into them were made to a level that was on par with the official French couturiers. Galanos was a master cutter and draper. Grace Kelly was an early fan and other couturiers looked to his work as inspiration. His work is held in all of the major museums around the world and he is one of my personal favourite designers. 

This dress is a showstopper. When it is off the body and laying flat it looks almost awkward but once on it completely transforms. It is strapless and the bodice is absolutely amazing to see in person. A brilliant blue silk has been covered with a gold metallic netting. Attached onto that is a dense application of gold sequins that are set to follow the pattern in the lace underneath. If that was not enough he then worked blue and iridescent beads in and among the sequins. These create a 3D feel as the pattern is raised off the netting. It is very elaborate and glamorous. Inside there is hidden boning and support built in so that once it is on the bodice hugs you like a glove. I love how the bodice extends down and past the hip and angles down on one side. This gives it a slightly longer line and more interest than it would have had if the waist was just cut straight across. It makes the break between the bodice and skirt softer. The skirt is incredible. It is attached under the bottom edge of the bodice and the fabric of the skirt has been completely cut on the bias. It is made of an incredible light silk that has been covered in a wash of gold thread. Parts of it has a denser application of the gold and the pattern this creates picks up on the pattern made by the sequins on the bodice. It drapes over your curves and moves with you as you move. It is so insanely sexy and so obviously couture that you will literally have your breathe taken away. If you have been looking for the ultimate dramatic statement dress this could just be it. Exquisite in every way. Excellent condition

The bodice is lined in a blue silk satin and has hidden boning and structure inside. The skirt has an inner silk chiffon skirt. It closes with a side set zipper. Ribbon seamed inner seams. Hand finishes throughout 

Bust: 18-19" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Bodice: 11" from top of bodice true waist
Skirt: 42" from waist to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3738

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

James Galanos was just 27 years old when he launched his first label called Galanos Originals in 1951. By 1954 he had won a Coty award and the Neiman Marcus award. By 1958 he was producing clothing that could range in price from $200 to $3000, an astronomical price for ready-to-wear for that time period. when you convert that to modern dollars and realize that it would be just under 30k for his upper range pieces. Part of the reason for those high price tags was that his ready-to-wear was made to couture standards. The workmanship and craft put into them were made to a level that was on par with the official French couturiers. Galanos was a master cutter and draper. Grace Kelly was an early fan and other couturiers looked to his work as inspiration. His work is held in all of the major museums around the world and he is one of my personal favourite designers. 

This particular dress reminds me of the pink colour blocked one that was worn so famously by Gloria Vanderbilt. It has that same feel created by his use of different panels of colour through the skirt. This is a technique that he used on several occasions and in several fabrics. The Vanderbilt dress for example was a silk chiffon and I have seen a darker, more column cut version in a silk jersey. This one is made from a silk taffeta and that choice of fabric keeps the dress extremely light while allowing it to have that wonderful volume that you see. The dress is extraordinary and is a testament to the couture construction techniques that he utilized in his work. The bodice is fitted with a slight sweetheart feel to the neckline. It is suspended by two tiny silk straps. The top port of the dress is lined in a silk but has no inner boning. It is meant to skim and hug the body underneath rather then to force a shape. The waist nips in and the skirt is set to feel very full with multiple soft gathers around the waist to create the fullness that you see. The skirt is made of four panels of silk taffeta, at the front here is a green on one side and a chocolate colour panel on the other. At the back both panels are the same blue as the bodice. All of the edges are finished with a gold cord that has been hand applied stitch by stitch. At the front the skirt is split quite high so that when you walk or sit you get an very unexpected flash of bare leg. The silk taffeta is so light that when you walk the skirt has a billowing effect behind you that it just magical. There are no extra underskirts added for these shots. All the volume of the skirt that you see has been created by the cut and the fabric alone. Around the waist the fabric from the silk has been gathered and held in place by more of that gold cording and then the edges of the fabric is set in an elaborate series of ruffles above that. This creates the prettiest ruffled finish that wraps all the way around you, cinches you in, and adds a pretty touch of romance. The work is all hand finished and all the inner seams have a beautiful ribbon finish. This is truly a stunning dress. Excellent condition  

Unlined and closes with a back zipper. Ribbon edge interior seams. It appears to have been worn very little if at all. 

Bust: 16" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: open
Bodice: 17" from top of shoulder to waist seam
Skirt: 42" from waist to hem
Front slit: 26" from hem up

Modern Sizing Equivalent: XXS-XS

Item# DD3736

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

Loris Azzaro founded his label in 1967 and quickly was dressing women like Raquel Welch, Brigette Bardot, Tina Turner, Liza Minnelli, Sophia Loren, Marisa Berenson and many more. His label gained international recognition and was known for his bright, clear colour choices and daring cuts. He once said in an interview; 'When a woman has found her style, she should stick to it. We forget too often that it is the dress that must serve the woman and not the opposite.' He is one of my favourite designers to find and with all of the emphasis on recreating these looks from the eighties by many modern designers you can't beat these original vintage version on terms of cut, style and quality. 

I love how this dress combines the sexiness of the fitted strapless dress with the drama of that flared skirt. The dress is made out of a printed silk taffeta that combines a bold pink with a deep purple in a soft washed print that covers the entire dress. The silk keeps it light in weight but at the same time is the perfect choice to help to hold the shape and give the dress structure. The top portion of the dress has been gathered in soft folds from the bust to just past the top of the hips. The folds are set to help to highlight the hourglass shape of the dress. They have the illusion of being wrapped around you and they are set on dramatic curves to really emphasize the shape of the body underneath. The neckline is strapless and the top of it curves over the bust to make a sweetheart neckline. The centre plunges down and is set to perfectly meet where the draping crosses over on each side. Inside the dress there is one of his signature built in strapless bras for extra support. The waist nips in beneath this and the shape you see is created by the cut rather then having a horizontal waist seam to break the line of the dress. The gathers continue down and over the top of the hips for shape. Below that the skirt flares out in soft folds and volume. There are two layers of the skirt and this lets the skirt move with your slightest move. It is even better on an actual body. Excellent condition.

Fully lined in a pink silk and closes at the back with a painted metal and nylon zipper. The bodice is boned and there is a strapless bra set into the inner bodice. Hand finishes throughout that are to the demi-couture standards his main line pieces were made to.

Bust: to 17.5" flat across from side seam to side seam
Waist: to 14.5" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 34" from top peak of bodice to hem

Modern Sizing Equivalent: SML-MED

Item# DD3307

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 Chanel hat is from the Fall of 1996 and it is gorgeous. I found a editorial shot of Stella Tenant wearing a version of it that was shot by Karl himself. The hat is so dramatic and easy to wear. It is meant to sit lightly on the top of the head and then you can play with which direction you want the feathers to face. It can be worn with the feathers towards the front, either side, or to the back and sit as high or low as you want. This gives it so much versatility in styling it and the feel of it completely changes depends on how you place it on your head. It has its original attached comb in place. The feathers are full and glossy. It is stunning. Excellent condition

Secures to the head with a comb. The base is a black felt wool. Because of the half hat / cap design is should fit any size head. Each side of the triangle shape measures about 8" long.

Item# A339

Reference Photo: Stella Tennant by Karl Lagerfeld for Chanel Fall 1996.

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

Without a doubt this is truly an exceptional piece of vintage Chanel and a rare find. It is a wonderful example of the work that the house of Chanel was creating during this time period. This would have been from right before Karl joined Chanel in an official capacity in 1982, however, in the couple of years proceeding his appointment as Creative Director, Karl was doing freelance work with them so you can still see his influence. The first Chanel Ready-to-Wear collection debuted in 1978 and many of the early pieces like this one were made to order. The main difference being that the pieces were sent pre-sized for the client to the boutique and then the final fitting was done in the boutique rather then at the Chanel atelier. I was pleased to have found a runway shot that dates the set exactly and this suit has the added historical provenance of being the actual suit that was worn on the red carpet by actress Sarah Catharine Paulson.

The suit in person makes such an impact. Far more then it does in the photos. The camera doesn't quite catch the vibrancy of the silk lame fabric or the texture of the chenille that details it. Both the jacket and the skirt are made from a rich red metallic silk lame. Onto that there is a black tufted chenille cord has been hand applied into a squiggle pattern. There is padding between the red lame and the inner lining and this gives it a quilted 'puffed' feel. The texture that this creates is incredible. The actual cut of the set is minimal and this simplicity really allows the fabric to take center stage. The jacket is done with that classic Chanel box cut. The sleeves are long and straight cut. There are three hook & eye at the very top of the neck to hold it closed and then it is open under that to the hem. The edges of the jacket have been finished with a band of the chenille cording to highlight the cut. There are no other embellishments and this simplicity lets it sit perfectly in place once on the body. It is cut to sit just past the waist line of the skirt and you can see how wonderfully it sits in the photos of Sarah. The skirt skims over the hips and then gently widens out as it nears the hem. The top of the waist is detailed with bands of the chenille and there are pockets hidden along the seams of each hip. The fabric is lighter then it looks so the set is very comfortable to wear. It has enough weight to it that both pieces hold their shape perfectly and it has a very sculpted formal feel to it once on. I love that you can wear the two pieces together or break it up and mix them with things from your current closet. It give its a lot of styling options and versatility. The jacket has the Chanel boutique label present and inside the skirt is a hand written / numbered label. It is made to demi-couture standards and almost entirely by hand. The numbered tape suggests that it would have been a custom ordered piece. Excellent condition

Full lined in a fine black tissue silk. Hand finished throughout. The jacket has three hook and eye near the top of the neck and the skirt closes with back hand set zipper. Hook and eye closure at the waist band above the zipper. Light padding in the shoulders of the jacket and pockets along the sides of the skirt.

Jacket
Sleeves: 22.5"
Shoulders: 16"
Bust: 20" flat across from side seam to side seam
Waist: 20" flat across from side seam to side seam
Length: 20" from neck to hem

Skirt
Waist: 14" flat across from side seam to side seam
Hips: 23.5" flat across from side seam to side seam
Length: 43" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3728

Photo credits: (1) F/W 1981 Chanel Runway Collection.  /  (2-3) Cherie, Owner of Shrimpton Couture, by Erin Leydon.   /  (4-6) Sarah Catharine Paulson in our Chanel suit attends the Costume Designer Guild Awards 2019, Styling by Karla Welch

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 the second time I have had a version of this dress in the shop and I think this one is in even nicer condition then the first was. I love finding Donald Brooks pieces, they are extremely well made and his main label pieces, like this one border on couture in their construction. His main line was basically made to order pieces. 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 remarkable dress is one of the best pieces I have had in by Donald Brooks. The workmanship and fabrication of this dress is an absolute dream. The fabric is very special and one of those fabrics that you will only ever find in a really great vintage piece. It is a rich and intricate combination of a chenille cording that is coiled and hand stitched into place over a metallic black lace base. The chenille cording gives it this beautiful soft feel and adds dimension and texture to the dress. The netted and embroidered lace that it sits on has a metallic finish at its edges and an open weave so that you get this very subtle sense of seeing little glimpses of skin through the pattern. For the final detail the fabric has glossy black sequins that have been hand sewn and stitched into place to follow parts of the curving design of the chenille. The lines of the dress are kept fairly simple so that the fabric can take center stage. The bodice dips into a V at the front and is more fitted to the body. Inside there is a little weighted piece that sits at the base of the V inside the lining so that it sits perfectly when on. The bodice then narrows into the waist that is set just upwards of the natural waistline. A satin finished sash is attached to add detail and then the skirt flows out from there widening out as it nears the hem. The sleeves are gorgeous. Each sleeve widens to be very full by its end and I love how the ends are finished with a scalloping. That same scalloped detailing finishes the neckline and hem as well and that little bit of a metallic detailing on the underlying lace that peeks out around the edges is just fantastic. It is truly really a work of art. Excellent condition

The bodice is lined in a nude lingerie weight netting and the skirt is lined in an inner nude silk. The sleeves are unlined. The inner skirt closes with a zipper and the the outer skirt snaps over that. The back buttons to close with hand covered silk buttons and loops.

Sleeves: 21"
Shoulders: no true defined seam
Bust: to 18" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Bodice: 14.5" from top of bodice to waist
Skirt: 37.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3724

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

Bill Gibb was one of the most influential designers in 1970s Britain and his clothes were sought out and worn by the rich and famous. His work always has a high fantasy element to it and he was crowned Designer of the Year in 1970. Much of his work verged on couture and he was unrelenting in striving for perfection. Every piece I bring into the shop is very special and this one is no exception. Gibb had a great fondness for history and exploring the far corners of the earth for inspiration. This set has obvious Asian roots with the fabric choice but he has taken the lines of a traditional piece and extended and manipulated them to make a new silhouette. I also love how the fabric combines the cherry blossoms print with English roses within the woven fabric to further emphasize his combining of cultures in this set.

The set consists of a very long, slim cut skirt that has a more over-sized cut jacket that sits over it. The skirt is made from two panels that are almost perfect rectangles that are brought in for the waist. This gives it a very linear line from the hip to the hem. It is seamed down each side with  a very high slit running up each leg. This lets you be able to you to walk in it and it shows a ton of leg when you move or sit. Over this is a simple open front jacket. In comparison to the skirt it is cut with a sense of volume and meant to feel more towards the over-sized side of things. The jacket has no front closures and simply slips on to wear. I love how the top of the collar is set so that it kind of flares open at the very top of the neck. The sleeves are long and cut wide. The braiding that runs down them extends the length of them visually and adds a pretty detailing. More braiding runs along the edges of the set and highlight its lines. The fabric is a beautiful bright red silk satin with little cherry blossoms and roses woven through it in a slightly metallic finished thread. This is a rare and absolutely amazing set that is even better in person and is even better on an actual body then on my dress form. Excellent condition with a minor note below

Both pieces are fully lined in a red silk. The skirt closes with a metal and nylon zipper. The jacket has no closures and slips on to wear. I see a tiny touch of foxing on the side of the skirt, a tiny pen mark on the front of the jacket and some slight lines running up the satin on one sleeve. Please see the photos after the label shot. Tagged a vintage UK 8

Jacket
Sleeves: 24.5
Shoulders: 15" across
Bust: to 16" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 19.5" flat across from side seam to side seam
Length: 13" from neck to hem

Skirt
Waist: 11" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 43" from neck to hem
Slits: 20" from hem up

Modern Sizing Equivalent: XXS-XS

Item# DD3436

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

Loris Azzaro launched his label in 1967 and quickly defined his trademark looks with his use of ornate beading, sequins, unusual detailing, daring cut-outs and avant garde ways of defining the body. Some of the most beautiful women in the world wore his clothing including Marisa Berenson, Raquel Welch, Jane Birkin, Sophia Loren, Brigitte Bardot and Tina Turner. It was a label that defined sexiness and had a certain French flare that women world-wide loved. This is an extraordinary dress that is stunning in its own right and could be a fantastic option for a bride or as part of a more extensive wedding event. It is even more special by the fact that Sophia Loren wore the black version. I have included that photo here so you can see how fantastic the dress is on. 

The dress is like a magical fairy tale version of all that was amazing about this time period. It is made out of an off-white silky rayon base with three layers of white silk netting over that and another built in skirt under it. He used a white chenille fused onto the netting to detail and highlight the different aspects of the design and cut. On the strapless bodice it is set in rows that are stacked on top of each other to cover the entire bodice. On the sleeves and over the top layer of the skirt the chenille makes little circles and these are scattered over the netting. The very top layer of netting the skirt is finished with is cut to sit shorter then the other two underneath and this top layer has a scalloped finish along its edge. It is then finished with more chenille that follows the pretty curving line the scalloping creates. The cut of the dress is beautiful. The bodice is strapless and curves into a sweetheart neckline that dips low at the front. There is one of his signature inner built in and attached bras inside for support and additional boning along the sides. It is fitted and nips in at the waist. The skirt sweeps to the floor in a cascade of feather light silk netting under the bodice. I photoed the dress with a full length crinoline under it so that you can see the tremendous shape and volume it has. Without the addition of an underskirt the skirt would lie in a softer line. The skirt has enough volume that you can add an even fuller skirt to get a real bell shape if you wanted it to have an even more formal gown feel. The sleeves are magnificent. Each one is cut to sit far off and down your shoulder and is trimmed with a silk satin ribbon finish around the upper opening. They have tremendous volume through the sleeve with a huge and elaborate pouf to them. Each of them ends in an elaborate cuff with the same detailing using the chenille rows that the bodice has. They are the perfect finish to this high fantasy gown. The workmanship is incredible and it is absolutely beautiful. This would make an extraordinary wedding gown for the bride looking for something unique. Excellent condition

Fully lined in an ivory silky rayon and closes with a back zipper. Each sleeve has a zipper at the cuff. A built in bra though the bodice that hooks to close separately. The interior bodice is boned. An inner skirt has bands of stiffened netting set in rows to help hold the shape. The slightest bit of yellowing to the edge of the inner lining hem. You could easily add a panel/layers of tulle or silk tot he bottom if you needed more length

Bust: 17" flat across from side seam to side seam with about a B to C cup on the inner attached bra
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 8.5" from top of bodice to waist
Skirt: 38" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3720

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 notes for the 1972 collection in the book 'Dior, The Catwalk' tell us that The New York Times declared Marc Bohan's collection for Dior as 'the best of the season in Paris'  that year. There was also the information that of all the Dior collections, the full records for this particular one did not survive the passages of time so finding a piece that is so well documented is a bit of a miracle. The version of this dress that has a higher neck line and tie bow was photoed by Richard Avedon that year. It was also shot for the September issue of Vogue and one is held in the V&A collection. When I found these photos I also found the caption that went with the Vogie shot and I lovedhow it described the dress: "Pretty. That's really the word for it - the softness of everything at Dior. So feminine at night especially...The flirt of the sleeves on a short dress for evening...black mousseline, covered at the neck and yet...revealing lots of skin beneath and lots of leg below". During this time period Bohan often made a series of couture dresses that had different necklines so that his client could choose their level of modesty that they were comfortable with. I love both versions but I think I prefer this lower V neckline when it comes to actually wearing it. It allows those spectacular sleeves to take full centre stage and that little extra skin gives it a more modern twist. You can also wear a wide variety of jewels with this neckline and I think that gives you more styling opportunities. The dress is exceptional.

This is an exceptional example of his work during this time period. The dress is entirely made from a feather light silk chiffon. This fabric is notoriously difficult to work with and when you add in that it was all entirely made by hand the level of workmanship takes on a whole new meaning. There is a slight texture to the fabric and this helps to lift and add volume while still keeping the weight to the absolute minimum. The sleeves are incredible. Each sleeve is a single layer of that fine silk chiffon and they are cut to be extremely full. As they near the cuffs the shape is further exaggerated and they poufed over their cuffs. Just above the elbow is a panel of the same silk that has been wrapped and attached around the arm. This lays over the lower portion of the sleeve and is set so that it flares out. It is a very unusual treatment to the sleeves and instantly catches the eye. When you move it has a beautiful floating movement to it that you can see in the reference photos. The bodice skims over you and a simple collarless V runs down the front. It plunges almost to the waist and is stopped by a tiny stitch at the base of the V. The skirt is made of layers of silk chiffon that are set on the bias. There are two of the black and then a nude silk under that. The shape this creates mimics the detailing on the sleeve and when you move the skirt also will move. At the back is the final perfect detail. It has been finished with just a single layer of chiffon so that you see the entire bare back though the silk for an unexpected touch of sensuality. This is a rare piece of fashion history. The proper Haute Couture label is present and is dated and numbered. Excellent condition with a small note below

Fully lined in a nude silk chiffon except for the sleeves and upper back above the waist. The back closes with a low set, fine metal zipper and then the dress snaps to close with a series of tiny snaps up the back of the dress that run over the zipper, past the waist to the neck. Each cuff buttons to close. There is a tiny area of thinning on the top of one shoulder. Please see the photo after the label shot. Entirely made by hand. The Haute Couture label is present and the dress is numbered #01340

Sleeves: 27"
Shoulders: 14.5"
Bust: 16" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Bodice: 15" from top of bodice to waist
Skirt: 24" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3031

Reference Photos: (1) Karen Graham in a chiffon dress by Marc Bohan for Dior, Autumn/Winter Collection 1972, photo by Richard Avedon, July 1972.  /  (2) Dior dress in Vogue, September 1972.  /  (3) 1972 Christian Dior Dress part of the V&A Collection.

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

One of the key elements of the spring 1973 collection was the snap closures that Courreges used. They played a two fold role in that they were a functional element that actually acted as closures and they where also a decorative design feature that helped to highlight his signature cuts. In the runway reference photo that I have included here, you can see the same snap detailing. This is a beautiful and rare example of his Haute Couture work from this time period that still feels fresh and wearable even now.

The suit is made from the classic wool that Courreges was using for his pieces during this time period. It has enough weight to hold the sharp angular lines of the suit but without adding bulk or making it feel too heavy to wear for our modern aesthetics. The colour is a beautiful deep blue that has been captured well in these photos. The wool has  a slight texture to it. The stitching and the snaps have all been dyed to match the colour of the suit. This lets you see the seaming and detail but in a way that gives you the full picture all at once. The jacket is beautifully cut. It is meant to skim over the body with just a touch of a boxy feel to it. The sleeves are capped and the shoulders are seamed but have no additional padding. The shape is all created by the cut and perfect tailoring techniques. To wear it you simply slip the jacket on and it snaps into place down the front. The top stitched seaming detail is done to follow the lines of the jacket and become their own design element. The skirt is spectacular. It is cut to be fitted around the waist and then is cut on an angle to the hem. I have photoed it flat for you as well as on the dress form so that you get a better feel for the shape. It has an unusual way to close. There are snaps that run down each side and you can fully unsnap it on both sides. The bottom two snaps at the hem are decorative so that you get a bit of a vent on either side but all the snaps above it open. This lets you open the sides up and leave the resulting slit as high up as you dare. It is an incredible example of his work. The exterior of the suit is in excellent condition and there is a note below regarding the lining

Both pieces are fully lined in a white silk and close with the snaps as described above. There is an area of fabric missing from the interior of the skirt. It is stable and does not effect the wearing of the suit. Tagged a vintage Courreges 00

Jacket
Shoulders: 12" across
Bust: 16.5" flat across the back from seam to seam
Waist: 14.5" flat across the back from seam to seam
Length: 18" from neck to hem

Skirt
Waist: 12" flat across the back from seam to seam
Hips: 17" flat across the back from seam to seam
Length: 22.5" from waist to hem

Modern Sizing equivalent: XXS-XS

Item# DD1091

Reference photo: Andre Courreges Haute Couture Spring 1973

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 Vogue review of the Spring 2003 show was extremely complimentary. This was at the height of Ford's vision for Gucci and he could do no wrong. The review said 'The Gucci girl’s got legs—long, tan, flawless ones striding along on silver peep-toe sling-back pumps. Follow them all the way up, and around two weeks later, they eventually meet the hem of the minutest piece of clothing that was ever called a skirt or dress. For spring, in a word, Tom Ford says short. Using lustrous fabrics in subtle makeup colors from blush to tawny brown, pearly gray and silver, Ford draped and wrapped his gorgeous girls in clothes that navigated that dangerous Gucci line between innovation and vulgarity. The tousled hair, the jackets and tops poised to fall off shoulders—the whole presentation stirred sensations that fashion hasn’t felt since the last days of the great supermodels. Still, don’t think tacky. Ford’s obsession now is integrating fine workmanship into abbreviated silhouettes. He took the idea of a kimono and portrayed it first as a simple silk beach cover-up, then as an elegant formfitting dress, painstakingly made from hand-painted strips of silk. He brought couture finesse to racer-back feathered dresses with the merest flip of a skirt. And with lightest touch, he wove white and rose gold into fragile ribbons to tie around wrists—the most modern-looking jewelry in Milan. When Carmen Kass closed the show in a dress made entirely of the same precious ribbon, it was a confident statement in the power of glamour. And fashion needs that.' To this day this is one of the most recognizable and desirable shows to find pieces from. 

One of the things that makes this dress exceptional is that it is true to the runway and is entirely original. I have seen this dress come to market before and most are the more conservative versions that don't drop as low at the back as the show version did. (There is a photo of Sarah Jessica Parker in that version that I have not included here but it is out there to google). Many of the ones that you see were also altered and if you looks closely they don't have the same original stitching at the hem and at the ends of the sleeves like this one does. It also still has its original elastic across that back which was meant to keep it in place on a hangar and in the body. Most women removed this before wearing so is very rare to see one still with this in place. You can see it in the runway shots too. The dress is meant to be worn short and the jersey stretches so accommodate the hips so that it stays in place. The rest of the dress just blouses over loose and easy. I have shown it on the dress form the way it is meant to be worn and like you see on Frankie in the runway shots and also extended it to its full length so that you can see the full pattern on the dress. The top is loose and easy and is meant to be worn low down the back. It almost creates a ruffled effect. The front sits as low as you wish it to and you can also wear the dress slouched off of one or both shoulders. The sleeves have wide openings on either side and again the more conservative version was more covered with a more narrow opening. This is an incredible piece of the Tom Ford history with the brand and is one of the most recognizable pieces from his tenure with the label. It's an incredible piece of fashion history given that it is true to the runway version. It appears to have been worn very little if at all. Excellent condition. 

Unlined and slips on the wear. Tagged a size Large but the jersey has stretch and should accommodate a variety of sizes. It is very hard to measure with the stretch factor so I have given the comfortable range laying flat. 

Bust: approx 19-23" flat across from side seam to side seam
Waist: approx 17-21" flat across from side seam to side seam
Hips: approx 16-20" flat across from side seam to side seam
Length: approx 37" from top of shoulder to hem but can be pulled up as short as you want

Modern Sizing Equivalent: SML-LRG

Item# DD3707

Reference Photos: Spring 2003 Gucci Runway Collection, Look 3. Model: Frankie Rayder.

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 stunning Valentino that is from the time period of Valentino when it was being co-designed by both Maria Grazia Chiuri and Pier Paolo Piccioli. They had stepped into Mr Valentino's shoes and were breathing new life into the brand. I love that they still adhered to the label's heritage in keeping with using the classic Valentino red colour.

The dress is made from a light stretch silk crepe chiffon in the signature shade of red that Valentino is so well known for. The fabric choice lets the dress light in weight while still holding that beautiful shape that you see. The bodice is strapless and is kept very simple and elegant. It is cut straight across the edge at the top and then the silk has been gathered across and over the bodice. The outer layer of silk is set so that it wraps over one side of those gathers and and then is caught up in a curve below the bodice. It follows along the waist line in a soft curve and is caught up on the opposite hip. There it drapes down the skirt in a pretty soft panel that creates a slight ruffled effect down the full side of the dress. The back is cut to fall in a smooth sheath so you get the feeling of length. It is the perfect mix of simplicity and elegance. The skirt falls to the floor in a graceful column and gradually widens out just a touch as it nears the hem. The lightness of the silk combined with the open panel on the one side allows the fabric of the skirt to move with the slightest bit of movement on your part and it is so pretty when you walk. Inside it is beautifully constructed. There is a built in full interior corset to hold you in place. It is lightly wired and boned and that is combined with a stretch lingerie netting for comfort. It is a beautiful and romantic dress. It is a very wearable size and looks to have been worn very little it at all. Excellent condition

Fully lined in a red stretch silk and closes with a back zipper that is covered with a red silk satin ribbon. The interior cupped and boned corset closes with its own separate zipper. The interior bodice has some stretch so I have measured the comfortable range laying flat - you could probably get a little more out of it if needed. No size tag bit I would guess that this is a modern Valentino 44 or 46

Interior bust: 20-22" flat across from side seam to side seam
Interior waist: 15-18" flat across from side seam to side seam
Hips: 22-23" flat across from side seam to side seam
Length: 55" from top of the bodice to the front hem, 56" to the back hem

Modern Sizing Equivalent: LRG-XL

Item# DD3696

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

Emilio Pucci is one of my favorite designers and every single dress is a work of art. His colors and prints are mixed with a masterful hand and when you get a good piece of Pucci, it is a piece that you can wear for a lifetime. This one is gorgeous. The dress is made out of one of his signature lightweight silk jerseys, a fabric that he preferred because of the way it moved and took colour. It is screened with one of his custom prints that he has laid out onto the fabric to highlight the cut and line of the dress. The sleeves are long and slim and the bodice is cut to skim over the bust with a V neckline. This flows past the hips to the floor in a fairly straight column of fabric.The colour is a bright salmon pink and over that is a floral and vine print in a white that is edged in black. The flowers and vines trail over the entire dress in the prettiest of ways. His signature band of a contrasting print comes into play to highlight the edges and cut of the dress. It defines the neckline, circles the cuff and runs around the hem. I love the wide band of print that wraps around the top of the hips to separate the bodice from the skirt without having to have an actual seam there. This gives it visual definition but still keeps the easy to wear cut. Another printed band runs up the upper back of the dress. You will note that there is also a band along one side of the skirt. This is an incredible detail as that entire side snaps open or closed. If left open it is open all the way to where the print circles the top of the hips so that when you walk it will show your full leg. If that's too much for you, you just snap it to close as far down as you like. The entire dress weighs ounces and it looks to have been worn very little if at all. Excellent condition.

Unlined and closes with a back hidden, painted metal zipper. The fabric is a silk jersey and does have some stretch. Note that the color is more intense in person - better then how it photoed. Hand finished

Sleeves: approx 23"
Shoulders: are slightly dropped and are approx 17"
Bust: 17-19" flat across from side seam to side seam
Waist: 15-17" flat across from side seam to side seam
Hips: 20-22" flat across from side seam to side seam
Length: 60" from neck to hem
Side Slit: can be fully closed or opened to be 33" from hem up

Modern Sizing Equivalent: SML-MED

Item# DD3111

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 gorgeous dress is by Alfred Bosand who was one of the great American designers but whose work is not as well known as some of the other more prominent American designers. His clothes where made to demi and couture levels with lots of hand finishes and detailing to them. Bosand started his career after World War II by attending the Fashion Academy in New York City. He then worked with several designers before launching his own label. By the time he retired in 1986 he was one of New York's last privately owned couture designers with his own label. His work is of very high quality. I just recently sold the twin of this dress in a cream and it is lovely to have another one land in the shop so soon. 

Bosand dresses always have a sense of romance to them and this dress with its matching caplet is no exception. Both pieces are constructed from a lightweight silk net that has little dots woven through it. The top netted layer sits over an inner lining that is finished in a pale peach colour. This softens the brown a touch as the peach colour peaks through the netted layers and adds to the illusion that you are perhaps bare underneath. The entire top of the bodice is covered in iridescent sequins that have all been hand applied. They are set be spaced more densely together towards the empire seam and then scatter up to the neckline. The dress is suspended from tiny double straps that curve over each shoulder. The bodice is kept simple with a low scoop at both the back and the front and a high seam under the bust. From under the empire waist seam the skirt cascades to the floor and widens out as it nears the hem. There are yards and yards of fabric in the skirt and it is made up of three layers, the top net layer that floats over an inner silk chiffon layer and then under those two layers is the lining. The dress comes with its original matching caped scarf piece. This has a built in collar that hooks to close and then the collar has the same sequin detailing done to it. The caplet is cut to end just at the empire waist seam at the front and then hangs with long panels that trail over each arm and around the back all the way to the hem. It is incredible and when you move it catches the air and moves beautifully. Excellent condition. 

The skirt is fully lined in an peach silk crepe with an additional layer of a brown silk chiffon between the skirt layers. The bodice is lined in a nude silk. The capelet is unlined and made from a single layer of the netting. The dress closes with a back painted metal zipper and the cape closes with two hook & eye at the collar. Hand finished throughout and hand applied sequins on the dress and collar of the capelet.

Bust: 17.5" flat across from side seam to side seam
Empire waist at seam: to 14" flat across from side seam to side seam
Inner hips: to 20" flat across from side seam to side seam
Bodice: 12" from top of shoulder straps to seam under the bust
Skirt: 48" from seam under the bust to hem
Cape: neck is 14" around. It falls 10" at its shortest length at the front and 60"to the longest length

Modern Sizing Equivalent: SMl-MED

Item# DD3683

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 love when I find these earlier examples of Oscar de la Renta's work. He would heave been more personally involved in them and they really showcase the designer he was to become. The dress beautifully combines several textures that work together wonderfully. It really showcases the the genius of his work and attention to detail. It has a couple of quirks to it so please make sure to read the full condition report below but it is still beautifully wearable.

The dress has a beautiful elegance to it despite all of its glitz and is as striking a dress as it could be. This sense of refinement is a constant in Oscar's work and I particularly love the earlier examples of his work. You can see how many of the elements he used so early in his career carried forward throughout his entire body of work. The dress is made from a sheer black silk chiffon that is lined in a black silk organza. This gives the base a bit of a transparent feel to it while still being completely covered underneath. Onto the top layer is an extensive pattern done in looping bands of sequins that have been sewn onto the dress in stacked rows. Mixed in with the gold sequins are the occasional green and red sequins. These catch the light differently and give the dress even more of a metallic feel. Worked into the sequins are these huge metallic paillettes that are cut into giant swirls. These are placed randomly over the dress and are done in green, gold and blue. Crystals are then hand placed and sewn on top of those. Every inch of the dress is covered. Each sleeve is left unlined for a touch of transparency and each is ringed with a deep brown sable mink cuff. If you are opposed to wearing fur it would be a simple task to un-tack them from the sleeves and wear it without the cuffs or switch them for a faux or feather finish. The neckline is cut wide across and scooped. The bodice is cut to skim over the bust and then the waist is seamed in a wide and generous cut. Below that the skirt falls to the floor, widening out as it nears the hem and it is finished with another band of the same fur as the cuffs. All the work is done by hand and each sequin meticulously placed. It is a beautiful example of his work during this time period. It feels even more gold in person. Great condition with some notes below

Fully lined in a black silk through the bodice and a black silk organza through the skirt. The sleeves are left unlined. It closes at the back with a hand set, painted metal zipper. Hand finished throughout. There is the occasional sequin loss here and there and some of the crystals on the large palettes are missing. Some palettes have a bit of a grubby feel to them and show a slight patina. The sides of the dress have been tacked on the outside to bring them in at some point so there is a little bulk of fabric on the sides. I opened one a bit and it looks like a seam underneath was opened and then the dress tacked on the exterior. You could open it to get more room if needed but there may be some additional work to do by a seamstress on the very inside seam if you did. I chose to leave it as found. It looks like the sleeves were also opened at some point as the fur does not meet under the arm. That too could be taken back in if you wished. I took photos the the side, under the cuff and of one of the paillettes. Please see the shots after the label shot. 

Shoulders: 16"
Bust: to 19" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: 16" from top of bodice to waist
Skirt: 42" from waist to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3684

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.

Loris Azzaro launched his label in 1967 and quickly defined his trademark looks with colour, ornate beading, sequins, daring cut-outs and avant garde ways of defining the body. Some of the most beautiful women in the world wore his clothing including Marisa Berenson, Raquel Welch, Jane Birkin, Sophia Loren, Brigitte Bardot and Tina Turner. It was a label that defined sexiness and had a certain French flare that women world-wide loved. By the eighties he was experimenting with volume and proportions and new fabrics that at the time were all cutting edge. This is a killer example of his work during this period and I also have a similar version on the shop in a red if the black one is not bold enough for you. I have dated this to 1987 after we found a reference photo of a model wearing an Azzaro dress with a very similar shoulder treatments. I love it 

This dress is a statement piece that will turn every head when you walk into a room.  It is so bold and dramatic. The bodice is hand draped into soft rounded gathers. It is constructed to follow the curves of the body from the top of the neckline to below the hips. For the body of the dress he has used a black stretch jersey that has a touch of a sheen finish to it. Inside is his signature black strapless underwire bralet that is sewn into the dress for support. The bodice is shaped into a low sweetheart curve and the gathers run horizontally down the body. Vertical hand done seams were then added all the way around to give the gathers a slight scooped feel. This ensures that they don't add bulk tp you but are simply there to emphasize your curves underneath. The low set skirt is made out of a metallic black textured silk that is set over layers of built in under skirting. The fabric of the lower skirt is placed to give the effect that it is wrapped and fanned around you. On each outer side the panels of the skirt lift up and away from the dress. These suggest flames in their shape and the colour. The same fabric and flame-like effect is then used to create a fan of fabric on one side of the bodice and this flares out dramatically up and over the front portion of the shoulder. It is very dramatic and OTT. In person the fabric has a richer and more textured feeling then how it photoed. Excellent condition.

Fully lined in a black silk with a built in bra though the bodice that hooks to close separately. It closes at the back with a painted metal and nylon zipper. The interior bodice is boned. Layers of tulle and silk underskirts under the low set skirt. The flame/fan detailing on the bodice has wire inside to hold it up. It would be easy to add additional wire or stiffening inside if you wanted it to really hold even taller then it does now. Hand finished throughout

Bust: to 16.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam and the inner waist stay hooks slightly smaller then that
Hips: to 17" flat across from side seam to side seam
Length: 52" from top of bodice to hem

Modern Sizing Equivalent: XS-SML

Item# DD3680

Reference Photo: Model in Loris Azzaro, L'Officiel No. 734, September 1987.

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

Bill Blass worked for the Maurice Retner label for 10 years as the chief designer. In 1968 the Bill Blass Inc label became a subsidiary of the Retner label . Then in 1970 he fully bought out his partners at the Maurice Retner label and re-launched it under his own name as Bill Blass Ltd. 1970 was the same year that he won his third Coty American Fashion Critics' Award and with it, his lifetime membership in the Coty Hall of Fame. By 1980 the company was doing 20 million dollars in revenue. He was arguably one of the most famous of all the American designers. By the eighties his work was even more ornate and luxurious than what he had done in the past. Prices for dresses could be as high as $5000 (which would be about $15,000 today). He was once asked why his clothes were so expensive and he replied, 'I'm an avid believer that we have to have clothes made in this country. Therefore we pay more money. ... The cost of labor and fabrication is what makes the clothing expensive.'

I have had versions of this dress in the shop in the past and I love it every time one comes in. It is bold and dramatic and it still feels perfectly on point with so many designers focusing on the eighties right now. Few designers would be able to make this mix of fabrics work. The neck is high and the sleeves are long. There is an inner silk chiffon bodice and then over that is an attached netted lace top. This is then covered in glossy black sequins. The winning through the lace and sequins are little rosettes that are made from a white ribbon that has been woven through the netting and stitched into place in little twirls. Blass used dots in his work quite often and the ribbon work that has been done is a bit of a play on his signature dot pattern. The shoulders are padded and strong and the edge of the bodice is shaped into a curving scalloped pattern. I love how it sits away from the body because it emphasizes the waist more. Quite a clever trick. The waist is accented by a wide black silk satin ribbon that is attached to the inner dress. Under that the skirt falls with a nice bit of fullness to it. Inside it has an inner organza lining that helps to hold the shape but most of the volume comes form the pleating at the waist and the horizontal banding that helps to give the skirt structure. It curves out full over the hips and has a bit of a bell shape. Alternating stripes of black and white silk organza run all the way to the hem and each black stripe has a little band of lace edging it on both the top and bottom of the stripe. Excellent condition with a small note to review below.

The outer bodice is lined in a black silk and that sits over a black silk chiffon inner bodice. The skirt is lined with a white white silk organza. The dress closes at the back with a hand set zipper and the top buttons to close over that. Padded shoulders. I see the the slightest of darkening to some of the ribbon on the top. Too faint to capture in a photo but mentioned for accuracy. There is a minor mark on the skirt and a tiny area of fading near the hem. Please see the photos after the shot of the label

Sleeves: 22"
Shoulders: 15.5"
Bust: 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 16" from top of shoulder to bottom seam of band at the waist
Skirt: 36" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3387

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 little Yves Saint Laurent dress has such a joyful feel to it. I am always excited to find examples of Yves' work from this time period and this one is extra special because it is the twin of the dress that was shown on the 1983 runway. We also found a editorial shot from that season with the same dress in a solid colour that was shot for L'Officiel magazine. I love the solid colour version as well but the printed one just has so much colour and joy to it I can't help but love it a little more. 

This is a gorgeous little day dress that you could easily style to work into the evening, especially during the warmer months. The colours are amazing and absolutely pop off of the cotton fabric that he chose for this dress. Cotton takes colour extremely well and it is the perfect choice to get these crisp vibrant tones. It also holds the shape well so that the dress has volume where Yves wanted it. Yves Saint Laurent was a master at choosing the fabrics that were the perfect compliment to the prints that he used. This dress is no exception to that rule with its riot of bright flowers covering its surface. The cut is pure Yves and a wonderful example of the work he was doing during this time period. The sleeves end just below the elbow and are cut with a full balloon sleeve pouf above their wide and easy elastic cuffs. The bodice is fitted with a V neckline at the front. The upper portion of the bodice is done in the same floral fabric as the sleeves and skirt but he then inset a blue fabric to define the waist and visually cinch it in. He then plays with proportion by adding a blue cotton peplum that runs all the way around the hips and flares outwards. Below that the skirt flares out with a pretty swing feel. The combination of the prints and the cut is genius. Excellent condition with a minor note below

Unlined and zips to close at the side. It is tagged a vintage YSL 36. It appears to have been worn very little if at all but there is some fading to the tops of the curves on the peplum. You notice it more when it is off the body and laying flat but not when on. Please see the photo after the label shot. 

Sleeves: 19"
Shoulders: 14"
Bust: 18" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 15" from neck to waist
Skirt: 25" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3653

Reference Photo: (1) S/S 1983 Yves Saint Laurent Rive Gauche Runway.  /  (2) Yves Saint Laurent Rive Gauche, L'Officiel, 1983.

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

Geoffrey Beene was one of the great American fashion designers and he was recognized for both his artistic and technical skills. He launched his label in 1963 and a piece from his very first collection landed the cover of Vogue. A Coty award followed a year later and in 1984 the Council of Fashion Designers created the annual Geoffrey Beene Lifetime Achievement award in honor of Beene's fashion legacy. This dress is from the Fall 1984 collection and we found an amazing editorial photo of it in the September issue of Vogue that year. It is one of my favourite things in the shop and it is even better in person. 

I am completely in love with this dress. It is so representative of his work and is just a gorgeous little dress in its own right. The silk that he chose for the dress is a fine silk taffeta that holds the volume and shape that he wanted while still keeping the dress light and airy feeling once on the body. The colour are a blend of a silver toned grey with a large black floral print over it. The sleeves are puffed and they have lots of volume built into them. The neckline is high and the bodice is cut to to be more fitted. Into the silver silk taffeta below the neckline there is an inset made out of a semi-transparent silk that has a metallic lame finish. This angles up into a peak at the front and then wraps around the sides. It goes from the top of the peak in height right down to the waist seam. Set along the angle of the front peak is a long panel of the same metallic silk chiffon. These extend out into extra extra long ties. You cross them over each other and then you can wrap them around your body. For the shots here I have tied them at the back but they are long enough that you could wrap them around you and tie at the front as well. Depending on how you tie them you will get a glimpse of skin through the inner front panel. You can style the ties to take advantage of that and show more of the transparent panel or tie them so that it completely covers it for a fully opaque feel. This play on transparent cut-outs is a staple of Beene's work as he progressed into the nineties and I love seeing it in this earlier piece. Below the waist the skirt falls to the floor in a cascade of silver and black. There are many yards of silk that have been used to construct the skirt so when you move you can really get a sense of its fullness. You could probably add an underskirt if you wanted it to be even fuller. Underneath the top layer of the skirt is built in silk chiffon underskirt that is edged  in a wide panel of black lace. The lace is finished with a curving scalloped edge and when you move or sit you get just a peek of it from underneath. Square polished buttons down the back are the perfect finishing touch. It is gorgeous. Appears to have never been worn or worn very little. Excellent condition.

The skirt is fully lined in a black silk chiffon that is edged with a wide panel of scalloped black lace at the hem. The bodice is also lined in a black silk chiffon. It close with a series of buttons down the back and a low back zipper at the waist. The inner waist hooks to close. Each sleeve has elastic in its cuff and they are cut wide and easy. The ties are attached at the front as described above. It appears to have never been worn or worn very little.

Shoulders: no defined seam
Bust: 18" flat across the back from side seam to side seam
Seam at low waist: 13.5" flat across the back from side seam to side seam
Hips: open
Bodice: 16" from shoulder to low waist seam
Skirt: 40" from waist seam to bottom hem

Modern Sizing equivalent: SML-MED

Item# DD1904

Reference Photo: Vogue, September 1984.

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 Balmain transformation from what it was originally to what it is today began when they hired Christophe Decarnin. He was the designer that gave it its edgy feel that has continued to the present day under Olivier Rousteing, the label's current Creative Director. When the Fall 2008 collection showed Vogue's Nicole Phelps said in part: 'And as promised, Spring's haute hippie feathers, fringe, and tie-dye were replaced by an all-Billy Idol soundtrack and enough leopard-print chain mail, python-pattern denim, and crystal-embroidered lightning bolts to make you wonder if there was anything at all left on the shelves at Trash and Vaudeville. To be fair, Decarnin's creations are much finer than the East Village emporium's, but they appeal to a similar kind of chick, one with a killer body and an active nightlife.' The twin of this dress closed the show and it is perhaps one of the most memorable and significant pieces that Decarnin designed for the label. It was produced in very limited quantities and instantly sold out world wide despite a very hefty retail price. 

The dress is incredible and the skirts are all still their original lengths. I note that as I have only ever seen one other of these for sale and it had its skirts shortened at some point. The length is integral to the design in many ways. The skirt panels are incredibly long and light in weight so that when you move they float and billow around you as you can see in the runway footage. Above the skirts it is extremely fitted long curving bodice that is constructed to highlight your every curve. On the interior of the bodice there is a full boned corset with built in cups. The corset is cut to run from the bust to the top of the hips so that you are molded and shaped into place. On the outside the silk is hand draped and placed into position to form soft gathers that run around you. A huge zig zag bolt runs down the front. It is densely covered in crystals and it separates the prints on either side of you. The silk on one side is zebra and the silk used for this is a light scarf weight silk. The other side is finished in a black and white leopard print. On that side the silk is more of a silk faille and slightly heavier in weight then the zebra printed silk is. This change in weights of the silk is genius because it means that the way the silk moves in the skirts changes and you get more movement. The crystal covered panel that divides the two printed sides curves over just one shoulder and then runs down the front in the dramatic zig zag that you see. At the back it extends just past the shoulder and curves to the side. To close the dress Decarnin  has used one of the signature chunky Balmain zippers to divide the two prints. The zipper is set on a curve that follows the curve of your body and it becomes an incredible design detail in itself. The dress is fitted to the top of the hips and then the skirts flare out into long trains of fabric. The predominant part of the skirt is made from the leopard print and this is set on a curve at the hem that extends out to the side and to the back. There is a smaller panel at the front that is made out of the zebra print silk that also extends out and back. Where the two fabrics meet at the front side, they are only attached at the to and not together. This means that an opening is created that goes right up to the top of the thigh. When you move your entire legs shows. We have included the runway footage for reference so that you can see just how incredible it is when it is on and you walk. Excellent condition with a minor note below.

The inner bodice has a fully built in boned corset made from a nude colored lingerie stretch corseting nylon fabric that has built in cups and is finished by hand. The fabric is hand draped over this and the crystals and lightening bolt have been attached by hand. It closes with a curved set zipper that allows the form fitting construction of the dress. Tagged a 40. There are a couple of small repairs along the hem of the trained skirts. Some tiny pulls in the silk of the bodice. Please see the photos after the label shot. Hand finished throughout. The inner foundation garment does have some stretch. You might be able to squeeze out a bit more room when on a real body.

Bust: 15-17" flat across from side seam to side seam
Waist: 11.5-12.5" flat across from side seam to side seam
Hips: 16.5-17.5" flat across from side seam to side seam
Bodice: 33" from top of shoulder to bottom of inner foundation garment
Skirt: 28.5" from bottom of inner foundation garment to shortest hem, 53" to the longest hem

Modern Sizing Equivalent: XS-MED

Item# DD3115

Reference Photos: F/W 2008 Balmain Runway, Final Look.

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

Bill Gibb was one of the most influential designers in 1970s Britain and his clothes were sought out and worn by the rich and famous. His work has a high fantasy element and he was crowned Designer of the Year in 1970. Much of his work verged on couture and he was unrelenting in striving for perfection. A dress from this same 1976 collection was photoed on Tina Chow by David Bailey for Vogue. I have included those reference photos here and you can clearly see the same ribbon detailing and pleating technique used on both pieces. His pieces were never produced in large quantities and this one is exceptional. I would not be surprised to find out that it was a one off and a custom piece. It is wonderful to have such a gorgeous example of his work in the shop.

This is an amazing example of his work. It is made up of two pieces. Inside there is a very long full length skirt. Over that sits that fantastic evening coat piece that has a built in silk part on the top and then flows to the ground in a cloud of netting. The inner skirt is beautiful. It is made out of a fine silk chiffon with a soft pink silk lining. The top layer of silk is knife pleated so that it has a lot of movement. It is detailed around the hem with a pretty ribbon finish made up of three stripes of silk satin ribbon in a pale blue, a pink and a mint green. This sits under the evening jacket that has a built in top that is made out of silk. The same striping detailed that the skirt has is used to edge the inner portion of the top. So you see the stripes on the skirt and the top through the netting of the jacket and it adds depth. The inner top is made from the same silk and chiffon combination as the skirt and treated with that same knife pleating technique. Attached and layered over that is the netted part. It is here that the high couture fantasy aspect of the piece goes into full play. The neckline is cut wide across so it almost sits off the shoulder. The fabric on this outermost layer is a fine ivory netting that has a stunning design of flowers and vines hand embroidered over it that covers it from shoulder to hem. I love how the pattern gets denser as it nears the hem. Each bit of that design is hand embroidered with a multi-colored pastel thread that has a metallic silver running through it. It is like wearing a work of art. The combination of the embroidery work and the metallic of the silver is incredibly beautiful and delicate in feel. All of the edges are finished with silver cording and there is a long tie of the same silver cording at the neck. The sleeves are even more incredible. They are cut extra long and each has an inner pleated base made out of a pale pink silk chiffon that is knife pleated like the skirt and inner top. Over this is a slightly more ivory toned silk netting that poufs out from the shoulder and is caught up just below the elbow. It then flares back out, widening as it reached the end of the sleeve. Each sleeve is densely hand embroidered with that same metallic thread as the body of the jacket. Long silver cords hang down from the seam at the elbow. No matter how much you might love the photos this one is even better in person. The workmanship in it has to be seen in person. It would even make a beautiful choice for a bride who is looking for an alternative to the traditional wedding dress or as a part of a wedding event. Excellent condition

Both piece are fully lined in a pale pink silk. The skirt closes with a metal and nylon zipper. The top slips on to wear with snaps and hook and eye at the very top of the inner most silk part. The colours in person are softer and bit more pink feeling in person. There is some light fading to one side of the skirt near the closures but its very minor. 

Skirt
Waist: 13.5" flat across from side seam to side seam
Hips at inner lining: to 20" flat across from side seam to side seam
Length: 44" from waist seam to hem

Top/Overlay
Sleeves: approx 31"
Shoulder opening: approx 17"
Bust: to 18.5" flat across from side seam to side seam
Waist- hips: open
Length: 25" from top of shoulder to hem of inner top, 58" from shoulder to the full length hem

Modern Sizing Equivalent: SML-MED

Item# DD3081

Reference Photos: (1-2) Tina Chow in an ensemble by Bill Gibb. Photographed by David Bailey for British Vogue, April 1976.  /  (3-4) Cherie, Owner of Shrimpton Couture, by Erin Leydon.

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 1951, 27 year old James Galanos launched his first label called Galanos Originals. By 1954 he had won a Coty award and the Neiman Marcus award. By 1958 he was producing clothing that could range in price from $200 to $3000, an astronomical price for ready-to-wear for that time period. That said, his ready-to-wear was made to almost true couture standards and were made with a level of craftsmanship that was on par with the French couturiers. Galanos was a master cutter and draper and he used many couture techniques in the construction of his dresses and gowns. Grace Kelly was an early fan. His work is held in all of the major museums around the world and he is one of my personal favourite designers. 

This particular dress has the added provenance that its twin was worn by Nancy Reagan on two separate occasions. The first time was at a party in London where she was photoed with Douglas Fairbanks Jr and Princess Grace of Monaco. She then wore it again to the premiere of Annie in 1982. It was obviously a favourite and for good reason. The dress is absolutely gorgeous. It has a long slim cut with just a suggestion of shape through the waist. As it nears the hem it widens out just a touch and there is a high slit on the side that the shoulder is bare on. This allows you to walk and also lets a flash of leg show when you move or sit. It is lined with a very fine, high end red silk that feels like heaven over your skin. The top is angled up and over the shoulder. It is cut wide at the top of the shoulder and this curves over you and then dips down to follow the same angle at the back. The edge of the neckline and the arm are both finished in a small ruffle of the same silk faille that the rest of the dress is made out of. For detail he has added a gorgeous design that follows the angle of the angled front and back. The design is done to suggest leaves and grapes perhaps. It was created by utilizing a trapunto quilting effect where two layers of fabric are used, the underside of which is slit and padded, to produce a raised pouf effect on the top layer. It is a tedious method that would have added several hours to the dress to do this by hand. The dress is stunning on and the reference photos of Nancy included here give you an idea of how much it transforms once on an actual body. Excellent condition 

Fully lined in a red silk and closes with a zipper at the side. Ribbon edge inter seams. It appears to have been worn very little if at all. The colour in person is a little darker then how it photoed. In person it is between the colour of the shots here and the pics of Nancy in the reference photos 

Bust: 17.5" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 56.5" from top of shoulder to hem with approx 2" turned under
Slit: 26.5 from hem up

Modern Sizing Equivalent: SML-MED

Item# DD3649

Reference Photos: (1) Nancy Reagan with Douglas Fairbanks Jr and Princess Grace of Monaco at a party in London, 1981.  /  (2-4) Nancy Reagan at the premiere of 'Annie' at Radio City Music Hall in 1982.

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