This incredible dress has it's original tag that appears to indicate that it was a sample from 1998. I have not been able to verify if this dress was produced for the shops or if it remained a one-off sample. If it is the only one that would be an incredible thing to have and even if it was produced it's so utterly beautiful that it would just be adding more beauty to the world if there was more than one. Of course I will continue to hunt for that information and one day I hope to send its new owner verification. Regardless of its production status, the dress is one of the best Valentino pieces I've ever seen.

This is a really stunning dress. And it shows how beautifully Valentino emphasize the female body will always stay completely elegant. The netting treatment on the dress makes you feel like you have been wrapped in the tulle. Underneath, the inner ivory silk taffeta layer gives the dress structure and it makes this beautiful, slight rustling sound when you move. The silk netting over that has a dot pattern over its surface. It is gathered down and along both sides. This creates this fantastic ruching all the way down that highlights your curves. Where it is gathered down both sides there is an elaborate line that has been beaded with two types of tiny black seed beads. The neckline curves around you at the top and then the dress is cut to skim over you with the shape all created by inner vertical seaming. The bottom skirt of the silk ivory underlay has been allowed to peek out from underneath the netting. It flares out and has an elaborate pleated ruffle all the way around. It is cut a little longer at the back and has extra fabric there as well so that you get this bit of a train effect behind you and a little fabulous kicking out of fabric as you walk. This is an incredible dress and one of my favorite Valentino pieces I've ever had in the shop. Excellent condition

The ivory acts as the lining through the body and then the bodice is lined with an additional layer of black silk satin. Lightly boned through the inner built-in bodice. It closes with a hidden set side zipper and the inner bodice piece has its own separate zipper. It has its original tag and appears to have never been worn. Tagged a vintage Valencia 40

Bust: 16.5" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 55" from top of bodice to front hem, 59" to the back hem

Modern Sizing Equivalent: XS-SML

Item# DD4431

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

This dress is a version of the dress I just recently sold in the shop with just a slight change in the design. Yves sent a series of these dresses down the runway that year including a shorter version to this one where the smaller bands on the dress were done in multi-colors and an all black long one that was used in the 1987 ad campaign. I have included these reference photos for you so that you can see just how great this dress is on the body. In person and even on the dress form it just does not present as well as it will once on a girl who properly fits it and brings it to life. The 1987 collection is one of my all time favorites and I am very pleased to have this wonderful example from it in the shop for you so soon after the last one.

The dress is made from a black silk faille base with a layer of dotted black netting applied over the bodice in horizontal bands. This choice in fabric gives the dress its structure and shape so that it holds the shape around you once on. The bodice is strapless and cut on a soft curve across the neckline. It is lightly boned on the inside for a built in shape that molds your form to it. It curves in just slightly to skim over the waist and then curves back out for the hips. From there it falls past the hips and the lower skirts flare outwards to the hem. The lower skirt is quite full and makes an incredible statement. The bands between the lace of the bodice are made from wide black silk grosgrain ribbon and they are beautiful and rich feeling. I love the contrast between the texture of the grosgrain and the dotted silk netting. At the back, each ribbon warps around and ends in a large flat bow for five of them in total running down the center of your back. Bows were a prominent part of the theme for this show and this dress displays that wonderfully. That combination of the grosgrain ribbon, the dotted lace, the bows, and that stunning full lower skirt is just gorgeous to see and it is even better on the body. Excellent condition

Fully lined in a crisp black cotton and closes with a side set zipper. The inner bodice is lightly boned and shaped. Inner waist stay that hooks to close with a flat hook & eye. Tagged a 42. It appears to have been worn very little if at all.

Bust: 16" flat across from side seam to side seam with an A-small C cup built into the front
Waist: 13.5" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 52" from top of bodice to hem

Modern Sizing Equivalent: XS-SML

Item# DD4431

Reference Photos: (1) Spring 1987 Yves Saint Laurent Ad Campaign (2-4) Spring 1987 Yves Saint Laurent Runway /  (5) Spring 1987 editorial photo source unknown

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

This dress is instantly recognizable as having been designed by Bob Mackie. He was best known for dressing Cher and for his signature glamorous looks. The best of his work are the pieces like this that are dripping with bead work. Modern girls are obsessed with his vintage pieces. He worked for both Edith Head and Jean Louis prior to working as a costume designer and co-designing with Ray Aghayan. That led to his incredible journey in designing for stars like Cher and Diana Ross for many years. In many ways his creations defined their careers and that era of glamour. His work always has that touch of the best of the bygone glamor of Hollywood.

This is an amazing dress that is extremely flattering even though you are covered completely. The base of the dress is made of a soft peach silk and then onto that is the vertical bands of detailing that completely cover the dress. That design that you see is made up of a combination of muted gold and clear glass tube beads that have been set in vertical rows over the entire dress. There is a more intricate pattern over that on one shoulder, around the collar and down the sleeves that is made up of tinier tube beads, muted gold sequins and rhinestones. And then scattered within all of that are little highlights done in a silver sequin with a tiny clear bead at their centers. This ultra glamorous combination gives the dress an extra layer of texture and glamour as every inch of it catches the light and sparkles. The dress has a decent weight to it when it is off of the body because of that extensive bead-work, and yet once on the body it drapes in a way that it is balanced and not at all unwieldy. The necklace is high and the collar is extremely detailed. I love the detailing on the outside of each sleeve. The waist is brought in just a touch to create shape and that curved down and angled seam there that is detailed with more rhinestones and beads helps to really lengthen the feel of the dress around you. The skirt call store from there and slightly widens out as it nearest the ham. It's a long slim shape combined with all those vertical rows of bead work make you look tall and lean once you are in the dress. Excellent condition.

Lined through the body matching peach chiffon and the sleeves are unlined. It closes with a back zipper and each sleeve has a zipper at its end. Padding in each shoulder. A touch more pastel feeling in person. Tagged a vintage Bob Mackie 6

Sleeves: 22"
Shoulders: 15"
Bust: 16.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 57" from neck to longest point of the back hem

Modern Sizing Equivalent: XS-SML

Item# DD4426

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

In the Chanel Catwalk book they note that this collection was "presented on a large scale set with no less than four cat walks - two electric blue and two bright pink - stretching to almost the length of a football field.... The collection focused on floral prints and bright colours of luminous blue, yellow, red, and green shades that would be echoed in Lagerfeld's next Couture collection. The star of the show with Chanel's trademark quilting famously used on the iconic 2.55 handbag. Here it was reinvented in a larger-scale and squarer versions, almost like a chocolate bar, and transported onto sleeveless tops, shorts, jackets, mini dresses and most strikingly, voluminous gloves with matching handbags." The twin of this chic black jersey dress was one of the star looks of the show. On the catwalk it was paired with a yellow underskirt and those big squared off quilted gloves and handbag. It is extremely easy to wear and as you can see in the runway photos it is a dress that by adding great or unusual accessories you can easily give it instant impact. I love it

The dress is so easy and simple to wear. You just slip it over your head, button the back of the neck and go. The black jersey fabric is a light in weight with a slight stretch to it. This gives it an incredible drape and ease as it glides over the body. The fabric also has a bit of stretch to it which just adds to that extremely easy feel once on the body. The neck is scooped at the front and the button at the back of the neck tops an open keyhole. It skims over your bust, waist and hips and then widens out quite a bit to the hem. There are panels inf the jersey running down each side and this adds to its movement as you move. You can see in the video the incredible movement the dress has. The front has a high slit and you can see on the runway photos how he added that pop of colour by layering the dress over an inner skirt piece. If you wear it as is without anything under it you would get more a flash of leg. There is another slit at the back and the back hem falls in points that are cut longer then the front skirt. I love how the sides are cut extra low and square. It  is incredible sexy to see this unexpected bit of skin. That simple silhouette has this easy and chic feel to it while the incredible movement the dress has gives it impact. It looks to have been worn very little if at all. Excellent condition

 Unlined and slip on to wear with a Chanel logo button over hook & eye at the back of the neck. Tagged a Chanel 40. The fabric does have stretch so I've given the comfortable range of movement below while laying flat.

Waist: 16-18" flat across from side seam to side seam
Hips: 19-22" flat across from side seam to side seam
Length: 55" from top of shoulder to shortest point of front center hem, 64" to the longest point of the back hem
Front slit: 29" from hem up

Modern Sizing Equivalent: SML-MED

Item# DD4418

Reference Photos/Video: (1-5) Spring 2000 Chanel Runway.  /  (6-7) From the book "Chanel: Catwalk".

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 Dior dress from the Raf Simons era and I believe that it is the production / retail version of Look 22 that he created for the Spring 2014 Haute Couture show. I have included a photo of the couture dress from the runway here so you can see. The fabric of the two pieces are very different but the same shape is there. You can see the similarities in the cut and that high squared off cut out at the front of the skirt. I love this one with its startling flash of that pale pink silk inside the skirt. It is extremely beautiful and perfectly representative of Raf's time at the label and what his vision for Dior looked like.

This dress is just magical. It is made out of a black silk that is completely and densely covered with thousands and thousands of the tiniest black sequins. They are densely applied and spaced to butt up against each other to cover every square inch of the dress. Because they are so tiny it almost makes the dress looks like it is covered in rock crystals or something of that effect. No matter what angle you see the dress from it will catch and glint in the light. The shoulders are softly rounded and they come slightly off the top of your shoulders. The opening for your arms curves back just a touch inwards towards the dress and I love how this is all shaped. It is all very subtle but it gives you this really pretty shape at the top. From under that the dress falls in one long column. The simplicity of the cut is offset by the thousands of sequins that cover it. The skirt widens out a touch as it nears the hem. At the front you have that incredible cut out. When you lay the dress out flat you realize that this cut out is created by splitting it up one side at the front to just above the knee and then he slit it across horizontally to a point a few inches from the other side. Where most would have removed that panel Raf allowed it to simply hang down. This created this stunning ruffled effect down the one side that has incredible movement. To highlight this unusual design even more he lined the whole thing in a pale pink silk crepe. This unexpected contrast between the black sequins and pale pink is just fantastic. This was an extremely hard dress to show properly on a dress form but once on the body it is 10X better because of the movement that lower skirt creates and the way it will fall over an actual body. It is this long elegant sheath with that unexpected twist. Very very Raf. Excellent condition.

Fully lined in a pale pink silk crepe. It slips over the head to wear with a button closure at the back of the neck. It looks to have been worn very little if at all. Pockets along each hip. Original uncut length. Meant to be oversized on a smaller frame and will sit more like a sheath on a larger. Tagged a Dior FR36, GB8, IT40, US4

Waist: to 18" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 65" from top of bodice to waist
Front cut out: 31" from the hem up

Modern Sizing equivalent: SML-MED

Item# DD4419

Reference Photo: Spring 2014 Christian Dior Couture Collection, Look 22. Model Georgia Taylor.

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

This dress is just exceptional. Its twin walked the runway that season and we found the barest second of it on the runway as the model walked back down the catwalk. We have included that little bit of film along with a couple of stills taken from the clip for you to see. They are not the best photos ever but we were still very happy to have confirmation that the twin of this one was indeed a runway piece. We also included an editorial shot from Marie Claire that season that shows a different piece from the show in the same fabric. This fabric in a variety of different colour ways was integral to the show and there was a an entire section of the show devoted to them. The dress is gorgeous and its so very rare to find these more exceptional YSL pieces anymore.

The dress is made from a feather light cotton voile that that has enough weight and structure to it to perfectly fall into the line that Yves desired it to have. The fabric has just a touch of transparency to it but at the same time the print and the way it wraps around you covers everything and perfectly the transparency feels like more of a suggestion of sensuality. I love the bold use of all those brilliant colors that covers the entire dress. The print is a stunning abstract and it is just a piece of art in itself. There is a soft strap that curves over one shoulder on an angle from the other side. Inside the bust there is a soft bodice piece built in that has a bit of boning for shape. This zips and hooks into place to hold the dress in place on you. The outer where is gathered in under the strap and then it falls over you to the floor. Part of the fabric at the waist wraps around and snaps in the place and this gives just a suggestion of shape there. The shape is soft as it falls over you and meant to have a bit if a sarong feel. It is cut to skim over the body loose and easy with the only fitted place being that inner built in bodice. The skirt wraps over itself and part of it is longer then the other. This does two things. First, when you walk or sit that opening will open a bit to show some leg and second it allows the skirt to the air and billow around you when you walk. I love that way it drapes around you at the top. It is fantastic on the body and really showcases his genius at both print and cut. It appears to have been worn very little if at all. Excellent condition

Unlined and closes in the inner bodice with a zipper and flat hook and I as described above. The waist snaps and hooks in place.  Light boning in the inner bodice. Tagged a vintage YSL 40.

Bust: to 17" flat across from side seam to side seam
Inner hooked waist: 13" flat across from side seam to side seam
Hips: variable because of the wrap
Bodice: approx 15" from top of shoulder to inner hooked waist
Length: approx 50" from top of shoulder to shortest part of from hem and approx 67" to the longest point of the back hem

Modern Sizing Equivalent: SML-MED

Item# DD4411

Reference Photos/Video: (1-4) Spring 1991 Yves Saint Laurent Runway.  /  (5) Yves Saint Laurent Editorial, Marie Claire, June 1991

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

Not only is this dress the twin of this dress was used for the 1992 ad campaign shot by Helmut Newton that featured the beautiful Karen Mulder, we also found the runway shots of it on a young 19 year old Tyra Banks. This one also has its original hang tag in place and on the back it has its original price of $1990, the equivalent of $4335 USD in today's dollars. Pricey then, pricey now, but a bargain as a pristine and collectable vintage piece that has never been worn. This was one of the iconic pieces of that season and I am very pleased to have found this example.

The dress is made from a crisp cotton silk mix that has just enough weight to it so that it sits perfectly once on the body, skimming over your curves in a chic and simple line. The dress perfectly represents this time period and you can see the transition from the stronger, more angular shaped of the eighties slowly moving into simpler shapes for the 1990s while still retaining the emphasis on the shoulders that the eighties had. That touch of excess from the 1980s is still there, but the shape is softening. The neckline is scooped and just deep enough to feel sexy but without being too deep not to be able to easily wear. It has a row of buttons under that that run to past the waist and this is held closed with those incredible poured glass enamel buttons. There are six in total, three red and three green and I love the heart shape they are done in. It skims over the bust waist and hips. The skirt widens out just a touch as it nears the hem. That ruffled shoulder and neckline detail is the star of the show. It follows the cut of the neckline and puffs out above the shoulders for a bit of high drama. I love that we have so many reference photos so that you can see just how amazing this dress is on the body. It still has its original hang tag and was never worn. Excellent condition

Unlined and closes down the front with the buttons as seen. Original hang tag. Tagged a vintage YSL 40

Waist: 14.5" flat across from side seam to side seam
Hips: 17.25" flat across from side seam to side seam
Length: 35" from top of shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD4409

Reference Photos/Video: (1-4) Spring 1992 Yves Saint Laurent Runway. Model: Tyra Banks.  /  (5) Spring 1992 Yves Saint Laurent Ad Campaign.

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

This is an incredible dress. This was a dress produced for the shops and it would have been made specifically for the wedding collection that year. What is interesting about this dress is that I have another one in my archive that is from 2007 but in a coloured silk satin. So Lee's original design was re-issued in this ivory. You will recall that I recently had a lace dress in that was also made under the same circumstances where a original dress done by Lee was re-issued at a later date for a wedding collection. I love when they repeat pieces like this. This would of course make an amazing wedding dress for a bride or could be an alternative dress in a more extended wedding celebration. And of course it could also be worn to any fabulous and glamourous event. The dress still has its original hang tags in place and was never worn. It has that same bias cut draped feel as the McQueen that Elle Fanning borrowed and wore recently so that will give you an idea of it on other then the sleeve area of course. I am obsessed with this dress

This is a stunningly beautiful dress. It is one that will come to life even more once it is on an actual body and will only truly come to life when worn.  It is a dress that definitely takes inspiration from the bias cut couture pieces of the 20s and 30s. McQueen was a master tailor and the seam work and simplicity of this dress do not hide that fact. It is made from a beautifully weighted ivory silk satin that has that same liquid feel that the best of the 1930s pieces did that were made from this similar fabrics. Like those dresses of the thirties this is also cut on the bias but with a more shaped silhouette. I love that the fabric is heavy enough and that the dress is lined so that it will not highlight 'flaws' underneath like some bias cut pieces can. It is cut to flow over the body and skims over the bust, waist and hips to the floor. The neckline drops into a V at the front for a bit of skin to show. It glides over the bust and there is this interesting softly curved seam that starts at the bust and runs down into the side seam. This not not only helps to add a little shape but it also becomes this interesting design feature and a subtle way for him to work in one of his signature angled seams. The skirt continues past and over the hips and then flares out as it reaches the hem. At the back there is extra fabric worked around the center seam to give you a bit of a trailing feel behind you. This flaring out at the bottom and the extra bit at the back give you fabulous movement when you walk or move. It also adds to the hourglass shape the dress has. The sleeves are incredible. They are set in these soft loops around each arm. They leave the sides of the shoulders bare and really add to the thirties feel of the dress. They are spectacular. It is in its original uncut length and was never worn. Excellent condition.

Fully lined in an ivory silk and closes with a hidden set back zipper. Tagged a McQueen 40. The bias cut fabric does have some stretch. The measurements below give you the comfortable range the fabric has when lying flat. It has its original tags attached and was never worn. It is in its original supermodel length. The bias cut should allow it to fit a range of sizes

Waist: to 14" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Length: 62" from top of shoulder to front hem, 75" the longest point of the back hem

Modern Sizing Equivalent: SML-MED

Item# DD4412

Reference Photo: Elle Fanning in Spring 2008 Alexander McQueen, from our archives, at the Critics Choice After Party, January 2023.

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 by using ornate fabrics 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 seventies and eighties he was experimenting with volume and proportions and new fabrics that at the time were all cutting edge. This is a stunning example of his work during the mid-seventies. When researching we found several examples of dresses from 1973 that utilized the same jagged flame pattern and sequins against silk chiffon. This one actually looks like a sleeveless version of the one shot on Marisa Berenson. This is a label that I really love and am always happy to find pieces from.

This is a gorgeous dress. It is really one that will come to life even more once on an actual body and I hope the photos convey enough of how fabulous it is because when worn this one will be even better. The entire body of the dress is covered with densely applied black sequins and these catch the light from every angle. This covers you from that jagged design on the bodice down and over the hips. The sequins extend right from the flame design at the front and then are set in long vertical rows to the hem. The top of the bodice is a single layer of black silk chiffon. This bit of transparency  adds an incredibly sexy feel. He used that same silk chiffon down the back where it dips into a low scoop. I love the way that the jagged flame pattern defines the bust and that low scoop at the back. A high slit up one side lets you have the perfect flash of skin when you walk or sit. It is fabulous once on an actual body. Excellent condition

Fully lined through the body in a black silk and it zips to close at the back.

Bust: to 21" flat across from side seam to side seam
Waist: to 19" flat across from side seam to side seam
Hips: to 22.5" flat across from side seam to side seam
Length: 57.5" from top of shoulder to hem with 2.5" turned under
Slit: 19.5" from hem up

Modern Sizing Equivalent: MED-XL

Item# DD4403

Reference Photos: (1-3) Marisa Berenson in a Loris Azzaro. October 1973. Photo: Michael Holtz.   /   (4) The cover of the book "Azzaro" for Assouline - Marisa Berenson and Loris Azzaro photographed in 1973, for issue 604 of L'Officiel de la Couture et de la Mode de Paris, by Roland Bianchini.  /  (5) Image from the book "Azzaro: Fifty Sparkling Years"  /  (6) Magazine spread featuring a model in Azzaro, 1973. / (7) Spring 1973 Loris Azzaro Couture.

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

This dress is very special and an extremely well documented piece from Spring 1988. It also has the special added provenance of being the twin of one of the four dresses portrayed in that instantly recognizable photo taken in his stunning atelier at that time. That photo is perhaps one of the most famous photos in the Lacroix history. This is from his Luxe label that was only produced the very first couple of seasons. It was very high end, expensive ready-to-wear that was made to near couture standards and was only available primarily to his couture clients and a select few. It was the predecessor to his later regular ready-to-wear collections. It is said that this label only lasted a couple of seasons because some of the couture clients complained at how close the garments were to their Haute Couture pieces. We also found numerous reference photos of the dress as it appeared on the runway so you have an amazing idea of how this dress looks on the body.

Christian Lacroix launched his Haute Couture house in 1987 and his work was instantly adored and revered world wide. He defined an era and he was crowned the King of Couture. A ready-to-wear line soon followed along with perfumes and menswear. His Couture collections in particular were always exotic lavish affairs. He drew his inspirations from across the decades and I doubt there was ever a more high glamour couturier.

The dress is gorgeous. It is made out of a textured silk organza that has a slightly bubbled texture running through it. This gives it this extra added dimension while the lightness of the silk keeps the dress feeling light and airy. Over that is a glorious floral pattern in pinks, yellow and greens set on a black base. It feels so vibrant and beautiful and that combined with the fabric is stunning to see. The sleeves are long and they are cut on a proper curve in the traditional proper dressmakers technique. The shoulders are lightly shaped and the front falls into a shallow V. The dress has a little bit of gathering just at the bust area along the center seam that runs the length of the dress and then it falls smoothly along that seam to the hem under that. It is cut to be fairly straight through the body and meant to skim over you with just a suggestion of shape through the waist. The back has that same sleek shape all the way to the hem and then the bottom 9 inches of the skirt has an inset panel and bustle. This panel is gathered into a curving seam so that it is full and fabulous and at the very center of that there is three half bows done in a black textured silk organza. These are stacked one on top of the other to give that little bit if volume and detail right under your bottom. It is deliciously Lacroix in every way and one of his most famous pieces. It appears to have been worn very little if at all. Excellent condition

The body of the dress is fully lined in a black silk and the sleeves are lined in a white silk. The dress zips to close at the back and each cuff has a zipper to close it. Light padding in the shoulders. Tagged a 44

Sleeves: 22.5" and 13" around the upper arm
Shoulders: 17"
Bust: to 19.5" flat across from side seam to side seam
Waist: to 16.5" flat across from side seam to side seam
Hips: to 19.5" flat across from side seam to side seam
Length: 35" from top of shoulder to hem with 2" turned under the hem

Modern Sizing Equivalent: MED-LRG

Item# DD4401

Reference Photos: (1-5) Spring 1988 Christian Lacroix Collection.  /  (6-7) Models in Christian Lacroix Haute Couture Atelier, Paris, 1988. Photos by Arthur Elgort.

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

The twin of this set walked the runway and was worn by none other then Carla Bruni. Which makes this suit that much more special. It also still has all three of its original pieces and I love that as well. Christian Lacroix launched his Haute Couture house in 1987 and his work was an instant worldwide sensation with the press declaring him to be the King of Couture. A ready-to-wear line soon followed along with perfumes and menswear. His collections were always exotic and lavish affairs. He drew his inspirations from across the decades and I doubt there was ever a more high glamour couturier. This suit with its supermodel tie-in is very special and a stunning example of his work during this time period. His couture pieces rarely come to market and I love having them in the shop when I can get them.

I love that this still has all three original pieces. It came to me with the jacket, skirt and the inner silk top that matches the lining of the jacket. Which is a very traditional Haute Couture detail. Having all three pieces makes it that much more versatile since you can mix and match all of pieces and wear them in so many different ways. The inner top is made of a silk with a abstract vertical wavy pattern in ivory, pale blue and pastel lavender. That exact same silk is used to line the jacket so when you wear the jacket open you get that incredible continuation of design. The skirt and the jacket are both made from a textured wool boucle with the skirt being a two-tone aqua and pale blue and the jacket picking up the lavender in the silk top. Unusual colour and pattern mixing was a forte of Lacroix and we see that beautifully in the suit. The jacket is stunning and every seam has been meticulously executed. The sleeves are long and the rounded shoulders have soft padding inside for a touch of structure. The seaming is set in curving lines to create the shape that you see and there are little boned Silk satin inserts at the front for shaping. That same silk details the inside of the collar runs across the top of the shoulder and along part of the edge of the split cuff sleeves. At the back he used that same fabric to gather and bring in the back of the jacket for shaping and add a pretty romantic detail with the bow. It snaps to close down the front with silk covered hidden set snaps. Buttons are sewn on the outside and each is a stunning jewel. Gold tone metal has been set with rhinestones crystals and turquoise. So even if you wear the jacket on its own or closed you get this stunning jewel detail there. The skirt is precisely and simply cut with that slight flare as it reaches the hem. The front panel wraps over which as a touch of detail and also leaves a hidden opening underneath so that when you sit or walk you get a tiny flash of leg. It is lined in an extremely high-quality pale blue silk. This is a stunning example of his work that will never go out of style and it is exceptional. The fact that it is true Haute Couture just makes it better and the workmanship is out of this world. Excellent condition.

Both the dress and the jacket are fully lined in silk described above. The top is made of a single layer of silk. Top closes with a hidden setbacks zipper and has ribbon finishing at the hem. The skirt closes with a side zipper and couture hook and eye at the waist. The jacket has hidden set snaps down the front. All three pieces are completely made by hand and have their proper Haute Couture tags present with sequential couture numbers under the tag.

Jacket
Sleeve: 21"
Shoulders: approx 15"
Bust: to 18" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Length: 19" from neck to back hem, 22" the longest points of the front hem

Top
Bust: to 17" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Length: 21" from shoulder to hem

Skirt
Waist: 13" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 21" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4391

Reference Photos/Video: Spring 1996 Christian Lacroix Runway, Look 4. Model Carla Bruni.

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 short version of one of my most favourite Azarro dresses I've ever had in the shop. It is from the Fall 1995 collection. When I had the long one I shared the editorial photo I have included here and that photo is one of my favourite fashion photographs ever. In 2018 I lent the long version to Karen Fairchild who wore it for the 2018 CMT awards. She was styled by Karla Welch and Karla ended up falling so in love with the dress that she ended up purchasing it and she wore it to the 2018 Instyle awards. This version is the twin of that dress and everything except length which for some will make it that much more versatile and wearable. It's fantastic.

This is a killer dress. It is one that will come to life even more once it is on an actual body and it is a dress that in person it is even better. The first thing you see is that the entire dress is covered in overlapping clear iridescent sequins that catch the light from every angle. This alone takes your beathe away when you see the dress in person. These cover a fantastic leopard print underneath. The shoulders are strong with underneath to hold the shape that you see. The neckline angles goes down from the shoulders and then goes across the shaped cups of the bust. The bodice is seamed to be fitted and shaped around you there is one of his signature strapless bras built-in underneath to add shape and support. The fabric has some stretch so it shapes to fit around you. It nips in slightly at the waist and then the skirt under that curves over your hips and the falls to the hem in a pencil shape with no vent making it fitted all the way down. The back as a huge all been cut out that leaves a bare expanse of skin. It is as incredible from the back as it is from the front. The sleeves are long and the perfect balance to the shortcut and openness at the front and back. It appears to have been worn very little if at all. Excellent condition.

Unlined and the fabric has some give. It closes with a zipper at the back and hidden set snaps at the back neck. The lower seam of the open back has elastic for easy fit. Padding in each shoulder. Built in signature cupped and wired strapless bra.

Shoulders: to 16" with the padding
Bust: to 18" flat across from side seam to side seam
Waist: 15-17" flat across from side seam to side seam
Hips: 18-20" flat across from side seam to side seam
Length: 37" from neck to hem

Modern Sizing Equivalent: MED-LRG

Item# DD4387

Reference Photos/Videos: (1) Fall 1995 Loris Azzaro Couture photographed by Alexander Ubeda. Model: Victoria Silvstedt.  /  (2-5) Karen Fairchild in Azzaro at the 2018 CMT Awards.  /  (6-7) Karla Welch in Azzaro at the 2018 InStyle Awards.

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 twin of the dress that Anne Hathaway wore to the premiere of Brokeback Mountain in 2006. It is from the Cruise 2006 collection and it is extraordinary. For this show Karl Lagerfeld invited his guess to the Place de la Concorde. He had a fleet of green vintage buses adorned with Chanel logos and these transported his guests on a ride through Paris. Models paraded down the aisle among the passengers and at scheduled stops they would switch buses so that everyone saw the entire collection. Karl said at the time that he 'used to love riding the bus in Paris as a school boy' and that was the inspiration behind the idea of the show. Lagerfeld wanted the collection to be lighthearted and easy and to be a tribute to Paris. This is a stunning dress from that season and I love the tie in with Anne. It makes it that much more special.

First thing that will strike you about this dress is that it is almost shockingly light in weight. It is almost a surprise to see it with all of the embellishments on it and then pick it up and have it feel like you are holding a cloud of silk. The silk is so light and so fine that it feels like magic. It is a deep blue colour and the entire dress is made out of two layers of it with an inner silk chiffon layer to give it a touch of opacity. The dress falls from the shoulders with straps that curve up and around you. It is scooped at the front and back in a simple almost tank style. The bodice is meant to skim over you and there are built in round cups to help add a touch of coverage over the breasts. The top layer of tulle on the bodice is a separate piece that is tacked into place around the waist. The dress flows out below that and the skirt widens out as it reaches the hem. Around the lower part of the skirt there are built in panels of tulle set in triangles all the way around. This is a nod to the old Hollywood dresses of the 1930s and it's a stunning addition to the dress. They give the lower part of the dress tremendous movement and volume when you move. The palettes that cover the dress are the most striking part of the dress. They are done in soft muted pastels that range from gold to blue to pink. Each individual oversized sequin has a ombre affect on it. They are finished with a more muted metallic finish and are tremendously beautiful. These are overlapped to highlight around the neckline arms and around the waist and then they are scattered in rows down and over the bodice and skirt. They are denser around the hips and then are spread father apart as they reach the hem of the skirt. The panels that are inset into the skirt for volume are just the tulle alone so that you get this nice contrast when you move. The dress came with a matching shawl made of the same tulle. It's huge size lets you wear it almost like a cape over your shoulders. It is also so light and fine that you can wrap it around your neck, use it as a head scarf or as a turban. It is just phenomenal and I am very happy to also have a reference video of Anne in the dress so you can see how beautifully this moves. No matter how good it looks on her or on the dress form nothing will prepare you for the way it feels when you have it in hand. Excellent condition

Fully lined in a blue silk chiffon closes with a bat hidden sets zipper. It appears to have been worn very little if at all.  The bias cut tulle does give it a bit of range. Tagged is Chanel 40

Bust: 16-18" flat across from side seam to side seam
Waist: to 16" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Length: 60" from top of shoulder to hem
Scarf: 68" x 74"

Modern Sizing Equivalent: SML-MED

Item# DD4385

Reference Photos: Anne Hathaway in Chanel at the premiere of Brokeback Mountain, December 2006.

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

This was Look 54 of the resort collection and one of the best of the evening pieces from that collection. It was shown in black for the collection and then was also produced in this spectacular all red version for the shops. I love Clare Waight Keller's time as Creative Director for the house. Even though her time there was short there are many really stellar dresses that came from her time there and this is on of them. It is a dress that will only gain in importance as time goes by and it is a definite show stopper.

Clare said of the collection that year “There’s a powerful woman in there that I really love; she’s a very strong character who loves a strong shape—something that gives a real sense of fashion.”, and in the Vogue review of the resort collection, fashion journalist Amy Verner mentioned the black version of the dress in particular along with another comment from Clare; "This marks the first season since the passing of Monsieur de Givenchy in March and Waight Keller hinted that a more intentioned homage might be forthcoming. In the meantime, the collection’s evening looks—specifically the long-sleeved black dress showered with silver embroidery, and the gradient celadon and rust plissé lamé gown—further the couture spirit we’ve seen most recently at the Met Gala and at Cannes. “It’s a real joy to be able to work at both ends of the spectrum,” Keller said. “It’s what I believe in: everything from the really simple everyday to the absolutely fantastic and fabulous.”

The dress is amazing. It is made out of a light weight red crepe through the body mixed with a silk faille for the inset on the lower skirt and silk chiffon for those amazing sleeves. There is also the addition of the teeny tiny sequins and beads at the neck. The red is gorgeous and it is that vivid true red that will flatter most skin tones. The the dress is cut in a long minimalist sheath that widens out softly as it near the hem. The neckline is scooped and the dress is meant to skim over you from bust to hips before it starts to do that soft flare out on the lower skirt. The upper portion of the bodice is finished with vertical rows of tiny red sequins topped with tiny round red seed beads. These are set across the shoulders and then angle down to a point. The lower skirt is finished with a panel of silk faille that is just a touch of a shade lighter than the crepe fabric. This runs across the full front of the skirt and angles up on an angle so that it is the opposite of the angle of the sequins at the neck. This is a very subtle detail that adds beautiful impact to the dress. The sleeves are the absolute star of the show. Starting at each shoulder a silk chiffon caped sleeve Falls over the top of your arm and then widen out to cascade all the way to the hem and slightly passed. They are open underneath so this gives them the ability to catch the slightest bit of air in billow out around and behind you when you move. It's the perfect touch of drama that softens the rest of the dress. All this extra detailing shows the high quality in making this. The dress appears to have never been worn and it is in its original extra long supermodel length. It is absolutely amazing  and the dress originally retailed at just under the 9k mark. It appears to have never been worn or worn very little. Excellent condition

Fully lined in a red silk and closes at the back with a hidden set zipper. The address is in its original length and appears to have never been worn. Tagged a modern Givenchy 36

Sleeves: 63"
Slightly inset shoulders: 13"
Bust: 17" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 60" from neck to longest point of the hem

Modern Sizing Equivalent: XS-MED

Item# DD4378

Reference Photos: (1) Resort 2019 Givenchy, Look 54.  /  (2) Credit unknown.

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

Philip Hulitar designed under his own namesake label from 1949 to his retirement in 1964 so his pieces fall in a very defined window for dating. He was known for his sophisticated dresses and evening gowns. Shortly after the launch of his label a journalist gushed that; 'The star of a gifted designer has risen recently on the fashion horizon'. Prior to launching his own label, Mr Hulitar was the in-house designer and head of the women's dress division for Bergdorf Goodmans for 18 years. His work is amazing. This would absolutely make for an amazing wedding dress for the bride or as an alternative dress in a more extended wedding celebration. And of course it could also be worn to any event. It is just beautiful.

This dress so beautiful to see. The fabric is that rich ivory champagne colored silk that seems to have been done nest during this time period. The cut of the dress is magical. The bodice is fitted and strapless and I love how it has a slight curve across the top of the bodice. Inside it is boned to help to hold the shape that you see. There is a little bow at one side for detailing that is so pretty. It is cut to follow your every curve. The waist is brought in but there is no horizontal seam there to break the eye. Instead it is held in place inside so you just get this beautiful unbroken curve to shape the body. The skirt curves over the hips and then widens out to fall to the floor in a stunning expanse of silk. The entire dress is shaped by the seam and the use of long vertical panels which give the skirt the volume that you see. You cod make it even fuller by adding a full crinoline underneath too. On the front and back are those inset panels of the same fabric bit for the panels they have been hand gathered across. This creates these long and wide panel of intricately gathered silk that run the full length of the dress. I love how they are used to add to the hourglass shape of the dress by being set wide across the bust, coming in at the waits and then expanding out across the width of the skirt. It does the same at the back but in a not so exaggerated way. The back is cut slightly longer for a beautiful sweep of fabric there. It is just a beautiful and rare piece of 1950s couture. Excellent condition with small notes below.

Fully lined in a tea coloured silk organza and closes at the back with a hand set metal zipper. Hand finishes throughout. Boning through the bodice. Beautifully made. The inner lining has a variation throughout that of course does not effect the outer dress at all.  I see a tiny foxing mark on one side of the outer skirt and the edge under the arm has started to give on one side and it is just starting a tiny on the other. These could easily be altered out by reducing the width of the band there a little. Please see the photos after the label shot. The construction throughout is to demi-couture standards. The colour is a bit more ivory then how it photoed. You could easily alter this one down if needed

Bust: to 18" flat across from side seam to side seam with room to a C cup at the front
Waist: 14" flat across from side seam to side seam
Hips: open
Length: 53" from top of bodice to front hem and 62" to the back hem

Modern Sizing Equivalent: MED-LRG

Item# DD4373

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

Hanae was the first woman of Japanese descent to have presented on the Paris and New York runways and the first Asian woman to be admitted as an official Haute Couture house to La Chambre Syndicale de la Couture Parisienne. Her work is exceptional. Hanae Mori excelled at the beautiful prints that she created and they always have a hauntingly organic feel to them as she was constantly inspired by nature. This set is just absolutely gorgeous and pieces like this from her are getting increasing hard to find so it is a true treasure.

This is a gorgeous Hanae Mori piece. It has a wonderful custom designed print that is screened onto feather light silk on both the top chiffon layer and the silk twill layer underneath that for the skirt portion. It also comes with its matching extra large scarf / shawl piece that I love. It gives you the option to cover your shoulders with it, wear it around the neck or even use is as a head scarf or turban. The dress is strapless and there is just a hint of the print that curves over the bodice here and there. The bodice has a slight padded feel to it and it is banded under the bust to separate it from the skirt. The skirt fall to the floor under that and gently widens out as it nears the hem. The skirt has two layers. There is an inner silk twill skirt that has that same pretty floral print on it. Over that is an attached outer layer made of a feather light silk chiffon that has the same print screened onto it. The two prints layer over each other and create the prettiest effect. This layering technique with silk & chiffon is one of her signature techniques and she was a master at it by this point in her career. I love the floral design on the silks and the pretty effect is has as it goes from the field of flowers to the green at the bottom. Using silk chiffon for the top layer is what gives the piece its light and airy feel and when you walk that layer billows out around you. It is a stunning example of her work and beautifully made. It even has hidden weights set inside the inner skirt so that it falls perfectly. Excellent condition with a minor note below

Fully lined in white embossed silk and has a built in lightly boned and shaped inner bodice. Both the inner bodice and outer dress closes with their own back set zippers. Unlabeled but the lining is embossed with the Hanae logo throughout. The inner hem of the dress shows some grubbiness along the edge. There is a slight darkening near the edge of the bodice along the sides. A spot or two on the inner skirt. Please see the photos after the inner logo shot. Hand finished throughout with hand finished inner seams. The scarf has hand rolled edges. 

Dress
Bust: 15.5" flat across from side seam to side seam with room for up to a small B cup at the front
Inner waist: to 13.75" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Bodice: 10.5" from top of bodice to inner waist, 6.5" from top of bodice to seam under bust on the exterior
Skirt: 45" from seam under the bust to hem
Scarf: 104" x 34"

Modern Sizing Equivalent: XS-SML

Item# DD4371

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 all of the pieces by Bill Tice that I bring into the shop. Most, including this one, were made in the 1980-1981 time period. His easy-to-wear and glamorous pieces have been worn by countless celebrities for the red carpet and events. Every girl that has bought one of his pieces through me has absolutely loved it. I recently had a black version of one of these long open jackets in the shop and I'm absolutely obsessed with this pretty peach colour. This is such a versatile piece to own.

The jacket is made out of a pretty peach jersey fabric that is meant to mimic the feel of silk jersey. This is one of those things that is a fail-safe piece that you know is going to work every time you put it on. This fabric has the added bonus of traveling very well. It is the kind of piece you can throw into your suitcase and slip on over just about anything upon arrival with either flats or heels and you are instantly ready to walk out the door. It is cut to feel long and slim with pleats running down its full length. It has gold cording that defines the collar, the bodice and back, around the arms and the cuffs. There is also a long stripe of the gold cording that follows the ties that close it at the neck. To wear it you just slip it on and tie it at the neck with those ties. The fabric is very light so when you move it has a ton of movement and will billow out around and behind you. It is fantastic. Excellent condition.

Unlined and ties at the top of the neck. The easy cut and open front should allow it to fit a range of sizes

Sleeves: 22.5"
Slightly inset shoulders: 14"
Bust: to 23" flat across from side seam to side seam
Waist-hips: open
Length: 56" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# DD4370

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

The twin this dress walk the runway on none other than Liya Kebede who stunned in it. It was also photoed on Sophie Thatcher for Numero Magazine. It is an absolutely stunning dress and no matter how good it looks in these Photos it looks 1 million times better in real life. The photos do not fully capture the feather light fabric of the dress and how it moves. In the review of the show that season Vogue noted that Karl's runway was decked out with a red carpet. The show launched with a parade of super models walking the red carpet 'while men ran alongside them popping flashbulbs. The message was clear, in an era when celebrity dressing has become so over exposed, it's only exciting when an actress has exceptional talent in style'. This was in acknowledgement to the fact that Nicole Kidman was there with Baz Luhrmann and they had just starred in Chanel's new advertising campaign for Chanel No. 5. I love that the runway photos give you an idea of the incredible movement of the skirt and how the bodice will sit on an actual person. The runway dress had a long brooch added for styling and this would be something easy to do if you loved that look.

This is such a stunning dress and it might even make an amazing wedding dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. And of course it could also be worn to any event. The first thing that you will notice when you see this dress in person is how incredibly light it is. It is a dream to wear. All of the panels and elements to the dress simply just straight into place in float around you. This also gives it amazing movement. Slightest bit of air will pick up the panels and make them float around you. The front plunges and because my dress form has no bust it looks like it sits underneath the bust but went on an actual person it will be pulled up more and sit across properly like you can see in the reference photos. A tiny little lace strap curves over each shoulder and then the sleeve drops from there. Attached to the sleeve is a panel of silk chiffon that extends over the top part of your arms and then around the back for a bit of a cape feel. The front criss crosses over itself and everywhere there is a seam there is a panel of that little net lace ribbon for detailing. These cross over your body from just under the bust all the way down to past the hips. Starting at the waist panels are set along those scenes that drape down so you have a touch of volume at the side. Another panel sits at the back and then more panels of chiffon are attached all the way around the lower skirt. The front is cut a little shorter so you see a flash of leg and then the back is cut long so that it trails out behind you I love the photo on the runway that shows the dress from behind. As you walk you get this sweeping feel created by the panel around the upper back and then those floating panels trailing behind you. The colour is a pale nude ballerina blush pink and the fabric has a touch of crepe texture to it. It is absolutely beautiful. None of the photos here give it full justice. Excellent condition with one minor note below

The dress is lined with a second doubled layer of a matching coloured silk chiffon. The inner layer closes with a zipper and then the exterior layer of the dress buttons in place over that with a series of enamel double C logo buttons. Some of the buttons have slight patina to them. The bias cut should allow it to work on a range of sizes. It will just drape more on a smaller frame. The colour is a slightly more dustier pink in person. It's better. One button was replaced with a non Chanel button but it is hidden under the ruffle so you would never see it  Tagged a vintage Chanel 44

Bust: 19-20" flat across from side seam to side seam
Inner waist: 19" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Length: 42" from top of shoulder to shortest part of the front hem and 68" to the longest point at the back

Modern Sizing Equivalent: MED-LRG

Item# DD4364 

Reference Photos: (1-5) Spring 2005 Chanel Runway, Look 55. Model Liya Kebede (6) Daria Werbowy by Karl 

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 very rare dress and is a version of the fuller skirted dress shown for the Resort 2010 collection. I have sold the fuller skirted one in the past but the only other one of this version I have ever seen is the one that was worn by Naomi Campbell in 2009. I know that with the other version there were only three made and I suspect that there were very limited ones of this one as well. Style.com noted at the time that; 'the line had a bit of romance in the form of lace overlays as delicate as insect wings' and that the collection 'was inspired by the notion of an artist in his studio'. While Vogue noted that the collection centered around patterns like 'line drawings'. The embroidered overlay on this dress would have been done specifically for each individually made dress and you can see how the pattern meets perfectly at all the seams. Each dress would then be a one off with no two being the same. This is an extraordinary piece of McQueen's history and I love the tie in with Naomi. Especially since there are so many photos of her with Lee while wearing the twin of this dress.

The dress is stunning and a tribute to his tailoring skills. It is cut to hug the body and create shape. The hand embroidered overlay is done in a stark black on a delicate netting. This lies over that brilliant yellow silk underneath and the contrast is remarkable. It gives the dress the appearance of being tattooed in that fantastical print that only McQueen's mind could come up with. The netted embroidery covers the dress from shoulder to hem so that you get the impact of the design from every angle. Underneath is a simple shift dress that skims over the bust, nips in at the waist and curves over the hips to the hem. I love the wide cut of the neckline and how there is that little edging of netting backed in a nude so you see just a hint of skin underneath. It feel subversively McQueen. Is a stunning example of the genius that was Alexander McQueen. Excellent condition

Fully lined in a yellow tissue silk and closes at the back with a hidden set zipper. Tagged a McQueen 42. It appears to have been worn very little if at all

Bust: 17.5" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 34" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4362

Reference Photos: (1) Resort 2010 Alexander McQueen, Look 23. Model Kelli Lumi  /  (2-5) Naomi Campbell attends Nick Knight's ShowStudio Opening Party as part of London Fashion Week Spring/Summer 2010 on September 21, 2009 in London, England.

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 program notes told the audience of the Spring 2009 runway show that Mcqueen had been thinking of Charles Darwin's theory of the survival of the fittest and 'the deleterious results of industrialization on the natural world'. The show was title 'Natural Dis-tinctions, Un-Natural Selection' and the McQueen book notes that 'the cat walk was filled with antique taxidermy, including an elephant giraffe tagger zebra and polar bear, in an art space that was formally of Paris morgue.' The twin of the dress was a part of the second portion of the show that was meant to 'continue to draw inspiration from natural forms, flowers, crystals and minerals, but here they were engineer with a hard as an enhanced to convey the synthetic qualities associated with modernity and human touch. Prints were angular and invoked crushed crystal, metallic structures such as the Eiffel tower and a granite mountain that was borrowed from a Dan Holdsworth triptych.' This collection was noted as being one of his most commercial to date during this time period and these print pieces especially had instant appeal.

This is a very recognizable Alexander McQueen piece. While there may be many of his pieces out there that only die-hard collectors would know at first glance, this is one of the dresses that has that wonderful print that you instantly can identify as being a McQueen. The colour is amazing. This dress sold out world wide when it was produced and there are very few out there. The fabric is almost like a neoprene in the way it looks and feels and yet it is not a true neoprene. It is lighter and thinner with just enough weight to it to hold the shape that he wanted but without it feeling restrictive on the body. The shape is built into the dress beginning at the shoulders which are padded so that they sit up on top of the shoulders. It skims over the bust, nips in at the waist and then curves out at the hips. The shoulders and hips balance each other out and even when laying flat you can see the shape built into the dress. At the neckline there is a keyhole that has a nude netting in behind it. This adds to the unique feel of the dress. I love the way that the seams at the hip curve in and over the waist to just under the bust. This precise seaming and cut are all done to give that exact distinct shape that he wished the piece to have. When styled on the runway with the plastered hair around the face it had an almost alien feel to it that was unbelievably fantastic. This was one of the lauded crystal prints from the collection and it is just spectacular. The dress looks to have never been worn and is in mint condition. It is an extraordinary piece of Alexander McQueen history and having a runaway pieces from him in the shop are always an exceptional thing. Excellent condition

Fully lined in a ivory tissue silk and it closes at the back with a hidden set zipper. Tagged a McQueen 38. It appears to have been worn very little little bit

Bust: 15.5" flat across from side seam to side seam with room for an A-small B cut at the front
Waist: 12" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Length: 32" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD4360

Reference Photos/Video: (1-2) Spring 2009 Alexander McQueen Runway, Look 24. Model Alex Sandor.  /  (3) Page from the book 'Alexander McQueen' edited by Claire Wilcox.

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

John Galliano began his own label in 1984 and he was instantly a bit of a 'boy wonder; in fashion. He was British Fashion Council Designer of the Year in 1987, 1994 and 1995. In 1991 he made his Paris catwalk debut. In 1995 he was asked to head Givenchy and then went to Dior in October of 1996. Unlike many designers he kept his own label going as well throughout the years at both those houses. His work, especially the bias cut pieces that he did, have a feeling of the decadence and abandonment of the twenties and they are beautifully cut. They marry Old Hollywood with the minimalist spirit of the nineties and early 2000s and the results are stunning. This is an amazing example of his work from the Fall 2005 season and it is gorgeous. This dress was a piece made for production for retail but it has all the things we love about his work presented in a chic and minimalist package.

The dress is gorgeous. It definitely takes inspiration from the bias cut couture pieces of the 20s and 30s. The seam work and simplicity of this dress is stunning to see and it is even better on an actual body. It is made from a beautiful black silk chiffon that has that same weightless feel that the best of the 1930s pieces did that were made from similar fabrics. Like those dresses of the thirties this is also cut on the bias but with a more shaped silhouette. It is cut to flow over the body and skim its way over the bust, waist and hips as it falls to the floor. The neckline is set wide across the shoulders and has a soft and feminine drape at the front that shows some skin there. On the one side of that draped front it a caught up with a little pleat detail just off to the side. It skims over the bust and is brought in just a touch at the waist through the seaming. The skirt flows over and hugs the hips and then flares out as it reaches the hem. The seams are set vertically through the skirt and at the helm each one flares out so that you get a ton of movement around the lower skirt. This flaring out at the bottom give you fabulous movement when you walk or move. It also adds to the hourglass shape the dress has. The sleeves are set on a slight curve to follow the shape of your arm and each is cut a little extra long so that when it's on it's going to gather up along your arm just a touch. I love the top set, angled seaming that sits on each hip and the way that the vertical panels of the skirt start from a curving seam sent just below those angled seams. This is where those little subtle details that Galliano put into his dresses make them heads above other pieces. That little bit of added seaming causes it to sit in a certain way on your hips and then that in turn affects how the entire dress sits on your body. You could also add a belt for added shape. The dress is spectacular. It is easy to wear and it's classic design means you can style it numerous ways. It is also in its original uncut supermodel length. Excellent condition.

Fully lined in a second layer of the black silk chiffon through the body and the sleeves are unlined. It has no closures, the bias cut allows it to simply slip over the head. Tagged a Galliano FR40, GB12, US6. The bias cut fabric does have some stretch. The measurements below give you the comfortable range the fabric has when lying flat. It appears to have never been worn or worn very little. It is in its original supermodel length. The bias cut should allow it to fit a range of sizes

Sleeves: 28" and 12" around the upper arm
Shoulders: approx 14.5-15"
Bust: 16-20" flat across from side seam to side seam
Waist: 13-16" flat across from side seam to side seam
Hips: 17.5-22" flat across from side seam to side seam
Length: 61" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# DD4358

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 most awarded designers in the US. There is a currently an exhibit running of his work for the 2023 year titled MOVE: The Modern Cut of Geoffrey Beene. I wanted to share the exhibit notes because they sum his career so well saying 'At his core, Beene was a fashion rebel who ignored trends, instead preferring to design garments that began as geometric shapes and evolved into silhouettes that moved naturally with the human form. His intuitive understanding of the body informed fashions that were unparalleled in their combination of luxury, thoughtful design, and comfort. Beene’s colorful, imaginative creations have been recognized with many accolades, including eight Coty American Fashion Critics Awards and three Council of Fashion Designers of America Awards. His work has also been celebrated through various exhibitions at institutions across the nation.'

This was a favoured silhouette of Geoffrey Beene that he was doing primarily through the late 1980s and into the very early 1990s. When looking through some of the images from the exhibit on his work there were dresses with very similar cuts from the 1990 season. It is a very pretty dress and very striking once on. The bodice is strapless and then it is completely covered in overlapping glossy black sequins at the front. At the back it is the same silk taffeta as the rest of the dress and I love how part of that extends and wraps around to the front just under the bust. This is all attached and adds a beautiful detail that really reflects his work from this time period. The bodice is meant to be fitted and has light boning inside to hold it in place. The top of it dips in the center and peaks slightly on either side to emphasize the bust. The waist is nipped in and then from there the skirt is cut beautifully full to the hem. The silk is all gathered into the waist and this is what helps give it that shape that you see. I love the oversized floral print that covers the silk and how there are these little woven dots running over the very top of the silk. These catch the light differently and are also a subtle nod to his love if dots in his work. Inside there is a black silk lining and the edge of that lining is finished with a sequin detailed lace. This peaks out from below the curving hem of the skirt  and ties all the elements of the dress together. The dress can be worn on its own or with the matching shawl piece that is original to the dress. This extra wide shawl is caught up at each end in an elaborate twisted fabric flower that anchors it and allows it to open between for the volume you see. It can be worn numerous ways and I have photoed some of those here. You could also wear it over the head for a very glamorous look. It is so pretty. Excellent condition.

Fully lined in a fine black silk and closes with a back hidden set zipper. Ribbon finished hem. Light boning through the bodice. The shawl is unlined with no closures

Bust: 17-17.5" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: open
Bodice: 10.5" from top to waist
Skirt: 36" from waist to longest points of hem
Shawl: 100" x 46.5"

Modern Sizing Equivalent: SML-MED

Item# DD4353

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 by using ornate fabrics 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 seventies and eighties he was experimenting with volume and proportions and new fabrics that at the time were all cutting edge. This is a stunning example of his work during the mid-seventies. When researching we found several examples of dresses from 1973 that utilized the same jagged flame pattern and sequins against silk chiffon. I've included those so you can get an idea of how great this looks on a body. This is a label that I really love and am always happy to find pieces from.

This is a gorgeous dress. It is really one that will come to life even more once on an actual body and I hope the photos convey enough of how fabulous it is because when worn this one will be even better. The entire body of the dress is covered with densely applied black sequins and these catch the light from every angle. This covers you from that jagged design on the bodice down and over the hips. And because of the way the pattern is done on the bodice the sequins also extends down to cover each arm. I love it. Where it meets the skirt is finished in the same jagged pointed pattern all the way around. And then what is perhaps my favourite detail is that the skirt is actually made up of individual patterns that are each sat up and into the points. There are 12 of them all together and they go all the way around you. Each panel is a single layer of black silk chiffon that is incredibly light in weight. When you move sit or walk they have tremendous movement around you. And because each is an individual panel that is only attached at the top you also get glimpses of bare skin between each panel. It's incredibly sexy. He then used that same silk chiffon at the top of the chest and down the back where it dips into a low scoop. It buttons down the back can you see a hint of skin between each button. I absolutely love the way that the jagged flame pattern defines the bust and runs all the way around the scoop at the back. It makes it instantly recognizable as an Azzaro piece. It is really gorgeous. If there was ever a dress that needed a body inside of it to bring it to life, this is it. It is stupendous once on. Excellent condition

Fully lined through the body in a black silk and the rest is as described above. Each sleeve is unlined so you get a bit of transparency between the sequins. It closes with a buttoned back. Each sleeve has a small zipper closure. Where is one of his signature strapless bras attached inside the bodice which could be easily removed if you wish. The colour is a perfect solid black. Any green or any other colours you see are just the light reflection from the camera

Sleeves: 23" and are 12" around the upper arm
Shoulders: no defined seam
Bust: 16-18" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: to 19.5" flat across from side seam to side seam
Length: 59" from top of shoulder to the longest point of hem

Modern Sizing Equivalent: SML-MED

Item# DD4347

Reference Photos: (1-3) Marisa Berenson in a Loris Azzaro. October 1973. Photo: Michael Holtz.   /   (4) The cover of the book "Azzaro" for Assouline - Marisa Berenson and Loris Azzaro photographed in 1973, for issue 604 of L'Officiel de la Couture et de la Mode de Paris, by Roland Bianchini.  /  (5) Image from the book "Azzaro: Fifty Sparkling Years"  /  (6) Magazine spread featuring a model in Azzaro, 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.

This is a gorgeous Valentino dress whose twin in the opposite colour way of this one walked the Spring 2006 runway for Look 63. I actually prefer the pink with yellow accent over the show piece. I think its even more romantic in feel. It is beautifully made and a wonderful example of Valentino's main label and the work that he was doing during this time period. In their review of the collection Vogue noted that Mr. Valentino was looking for a replacement and this is indeed one of his final few shows. He definetly was not resting on his laurels. The entire collection was stunning. Vogue noted the floral pieces in particular saying 'Valentino gave equal play to gorgeous color, which appeared in rose prints, and rich floral embroideries that captured the season's feel for Asian motifs....when it comes to jet-set elegance, Valentino has no rivals.' Indeed

The dress has this perfect easy to wear feel and at the same time is utterly and perfectly beautiful. It is made out of layers of a beautiful silk chiffon that has been cut on the bias. The bias cut and soft floating feel of the chiffon are used to create beautiful movement through the skirt when you move. You can see in the attached runway reference video how spectacular this is when on and moving. I absolutely love the colour. It is a soft romantic dusty pink and the that is highlighted with a pastel dusky yellow tone underneath. Over both of those is a rose print that covers every inch of the dress. The color in person is even better then how it photoed and that soft pastel pink is very flattering on most skin tones. The bodice of the dress is set high and wraps around the bust like a bandeau. On one side it is gathered up and into a soft wide strap that curves up and over the shoulder. Under the bandeau the dress falls in a sheath of silk that skims over your waist and hips and widens out as it nears the hem. The entire front of the dress is a separate panel that wraps from the opposite side of the shoulder and then is caught up at the base of the strap on the other side. This then becomes a ruffle that cascades all the way down the one side. The underlayer of that front panel is the yellow so that when you walk or sit you see that flash of color. The dress is also lined in that same yellow and that touch of colour peeking through the pink is just perfection. The back is slightly longer for that perfect sweep of fabric and floating affect around you when you move. It is just stunning on the body. Every detail is perfect. It has its original tag and was never worn. Excellent condition

Fully lined in silk chiffon as described above and It closes with a hidden set side zipper. Original hang tag present. Tagged a vintage Valentino 8

Bust: 17.5" across from side seam to side seam
Seam under the bust: 15.5" across from side seam to side seam
Natural waist: 15" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: approx 12.5" from top of the shoulder to seam under the bust. The bodice itself is 4" wide
Skirt: 51" from seam under the bust to front hem, 55" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD4339

Reference Photo/Video: Spring 2006 Valentino Runway, Look 63. Model Julia Stegner.

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 Bob Mackie who became a household name when he started dressing Cher. The very best of his work is dramatic and opulent and he was a master at print and color. He started off his career freelancing for costumers Edith Head and Jean Louis and it was for Louis that he sketched the design for Marilyn Monroe's famous 'Happy Birthday, Mr. President' dress. He met fellow costume designer Ray Aghayan who would become his life partner and together they designed both costumes and a made to order line of RTW. That led to his incredible journey in designing for stars like Cher and Diana Ross for many years all while building his own self-named label. His work and his creations really helped to defined the entire idea of high glamour on the small screen. His work is incredible and this dress is stunning. I love how it shows his range as a designer beyond his signature beaded pieces.

This is an extraordinary Bob Mackie dress whose twin walked the runway for the Spring 1989 collection. On the runway it was shown with a little beaded Bolero and I love that you could potentially wear it like that by adding your own little jacket. This one came with a matching oversize shawl made of the same silk chiffon and I love it this way just as much but it's always nice to see options. The dress is made out of a brilliant red silk chiffon. It has a surprise though. Under the top layer of the silk of the skirt is a second layer of silk chiffon that is done in a bright true pink. This gives the red a slightly pink undertone and there is also this amazing and unexpected flash of colour when you sit or move. It is a colour combination that is stunning to see together. The bodice is strapless and it has an inner shaped corset that is boned and shaped for support and to stay perfectly in place. The top of the bodice is slightly rounded and then it is notched at the center. Over that the silk chiffon has been gathered and draped so that it swoops upwards and in towards the center seam. The skirt flows out from under the seam of that top part of the dress and it is made up of yards and yards of feather light silk chiffon. There are two layers of the silk as described above with the red on top and pink underneath. All the layers of the silk are feather light and the movement it creates as you move is just incredible. All the silk is cut on the bias. The dress also comes with its original massive matching cape shawl piece. Draped over the shoulders the sides fall down and passed the hem of the dress. You can wear it as a cake and just draped over the shoulder or you could wrap it. This little bit of added glamour and drama just elevates the dress that much more. It is truly one of the best dresses of his that I have seen. Excellent condition with one small note below

The bodice of the dress is fully lined in a red silk. The skirt has an inner pink layer of silk chiffon as described above. The bodice is shaped and and boned inside and has an inner waist stay that hooks to close. It then closes with a back painted metal zipper. Hand finishes. There is a tiny repair to the inner edge of the bodice, a tiny one near the hem and a small mark on the edge of the bodice at the back. Please see the photos after the label shot.

Bust: to 17" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 8.5" from top of the bodice to seam
Skirt: 42" from seam under the bodice to hem

Modern Sizing Equivalent: SML-MED

Item# DD4335

Reference Photo: Spring 1989 Bob Mackie 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.

This dress is phenomenal. The twin of this dress in a different colourway walked the runway as Look 47 for the 2018 resort season. The show was held in the remote Upper Las Virgenes Canyon Open Space Preserve in Calabasas, California. The show was star packed with Rihanna, Charlize Theron and Solange Knowles there alongside the fashion pack. The inspiration for the show came from the archives and Chiuri said 'she went to the archives, where she came across the house founder’s Lascaux collection of 1951, inspired by the ancient cave paintings discovered in southwestern France a decade earlier.' This dress to me also harkened back to  the earlier Galliano era and in particular the Resort 2008 collection where a a yellow dress that is very similar to this one was shown.

This is a dress that is insanely sexy and bare feeling and yet that bright joyful  colour, minimal lines and feather light silk keep it feeling fresh. The dress is a made out of layers of silk chiffon, silk tulle and silk that falls like a dream over the body. It is light and easy to wear and feels like a dream once on the body. The lightness of the fabric allows it to move and float around you  as you walk and move. The bodice has a halter style front that plunges right to the waist. The front plunges into a low V that slightly crosses over itself where it meets the ruffled band of fabric at the waist. The tops of the triangle that cover the bust are twisted for detailing and then they fall into a deep V at the back that sits wider apart so that it actually has a more open squared off feel where it meets the waist. The sides are also left open and bare to the waist so that you have a flash of skin there too. Despite its bareness it is cleverly cut so that when you have it on it stays perfectly in place. The waist is seamed and finished with a ruffle of silk chiffon that adds to the feminine feel of the dress. This ruffled detailing sits just under the base of the plunge. Under that the skirt flows to the floor in a sweep of silk. There is a tremendous amount of fabric in the skirt and this gives the skirt beautiful movement when you move. The skirt has several layers. The top layer is a silk chiffon that has that touch of texture to it. Then there are two layers of silk tulle under that and a final inner layer of silk next to your skin. The lightness and fullness of the skirt lets it catch the air at your slightest movement and billows out around you as you walk. The effect this has once on and when you move is fantastic. The reference runway footage gives you an idea of how great it is and how fabulous it is on the body. It appears to have been worn very little if at all. Excellent condition with a small note below

Lined in a yellow silk as described above and closes with a back hidden set zipper. Tagged a FR40, UK12, IT45, US8. There are two tiny decently done repairs near the zipper that get lost in the fabric once on from where it probably caught when being zipped. It otherwise looks to have been worn very little if at all. Please see the photos after the label shot

Bust: no true side seams but each triangle will cover 7" across
Waist: 14" flat across from side seam to side seam
Innermost hips: to 21" flat across from side seam to side seam, the outer layers are full and open
Bodice: 14" from top of bodice to waist
Skirt: 44" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4329

Reference Photos/Video: (1-2) Resort 2018 Christian Dior Runway, Look 47. Model Cara Taylor.  /  (3-4) Kate Mara in Dior at the 2017 Guggenheim International Gala.

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 very chic 1970s Christian Dior dress from the Marc Bohan years. It is a wonderful example of the work being done during this time period. The dress perfectly shows the restraint that the label could have when it delved into minimalism while still being able to make a statement through that stunning colour. The dress dates to the early - mid 1970s. It has an earlier rendition of the ready tp wear label in it but at this point in Dior's history that still meant a piece with many hand finishes. Which is what this one has. The jersey makes it a very easy and comfortable dress to wear. Don't let the simplicity of it fool you. This is a dream to wear and the simple lines are offset by the high quality silk jersey and the ease and beauty it has once on.

The dress is made from a the perfect yellow silk jersey that drapes beautifully over the body. The bodice has a scooped neckline at both the back and the front. It sits low on the bust at the front for a touch of sexuality to offset the simple lines. It is cut to skim over the bust and then the waist is seamed and set slightly dropped. I added a grosgrain ribbon tie belt in the same colour and  you can use this to make the top blouse over more, wear it without the belt and if it works on your body you could even wear it with the waist seam sitting lower so that the top does not blouse over at all and you get a more dropped waist even longer feel. At the back it stays as simple as the front dropping just a touch lower for a bare expanse to show across the upper back and shoulders. The skirt is set into the waist seam and then skims smoothly over the hips and then falls in a series of three tiers of jersey under that to the floor. These tiers give it the most incredible movement around you when you move. It is cut super model long and is in its original length. This is a dress that you just slip on and it is perfect for day or evening. You can also extend its life by layering under or over it for a full range of looks. Excellent condition with a note below

Unlined and it closes with a hand set back zipper. The ribbon at the waist is not original to the dress but will be included. I see a tiny bit of repair / fraying to the base of the zipper area and a pinhead size dot on the front that is hidden when it blouses over. There are some marks and a couple of pinholes on the lowest tier mainly at the back. The marks are covered by the tier above and the pinholes held up to cleaning and are stable. Please see the photos after the label shot. The yellow tends to photo with some shadow and in person the colour is even better

Bust: to 15-18" flat across from side seam to side seam
Waist: to 12.5" flat across from side seam to side seam
Hips: to 16-19" flat across from side seam to side seam
Bodice: 18" from top of shoulder to waist seam
Skirt: 46" from waist to hem

Modern Sizing Equivalent: XXS-SML

Item# DD4327

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 launched his label in 1970 when he bought out the Maurice Rentner label and re-launched it under his own name. Blass was arguably one of the most famous of  the American designers. His forte was the ability to mix simple styles with luxurious materials and his evening wear in particular seemed to have a way of flattering the wearer. He knew how to walk that line perfectly. This is a gorgeous example of his work from this time period. It is beyond gorgeous and it is one of my favorites from him. I have had this dress in the shop before and at last we have been able to date it. It is from the Spring 1984 collection

I have had the twin of this dress in the shop in the past and I love it more every time I find it. The main body of the dress is made from a deep royal purple silk that has a vivid pink ruffle that runs all the way down one whole side. The way that the pink is attached to the dress gives the dress the feel that that it has been wrapped around the bust and then tied into a dramatic bow at the shoulder with the ties trailing down your side. It actually is all attached and a part of the dress but I love how it makes the dress feel. The pink is gathered and warps all the around the bust and then is caught up at side to create that gorgeous bow that you see. The other shoulder is left completely bare for a little skin to show. Under the bow the pink silk runs down the side of the dress in an extravagant ruffle finish all the way to the hem. The inner bust has boning to support you and there is a little hidden strap under the bow to keep it in place. The body of this is cut loose and easy and it widens out it falls to the floor. It is extraordinary. Even more beautiful in person. It appears to have been worn a very little if at all. Excellent condition

Fully lined in a deep purple silk. The inner bodice closes with its own zipper and then the dress zips to close over that with a hidden set zipper. Lightly boned through the inner bodice.

Bust: 16.5" flat across from side seam to side seam
Inner waist: 13" flat across from side seam to side seam and the outer waist goes to 16" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 56" from top of shoulder strap to hem

Modern Sizing Equivalent: SML-MED

Item# DD4109

Reference Photos: (1-2) Fall 1984 Bill Blass Runway, Model Dalma Callado.  /  (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.