This is a gorgeous little jumpsuit. It has no label so who made it is a mystery but it is fabulous regardless. This is truly a piece that needs an actual body in it to come to life and my dress form is not doing it full justice. I love the colour combination with its shades of bright tropical blues mixed with a soft orange and then pops of black and white. The fabric is a crepe jersey that has a bit of a texture to it and holds the colour extremely well. It is as bright and crisp as the day it came off the rack. It has no sleeves and the bodice is meant to skim over you. The waist is loose and easy so it is very comfortable to wear and move in. The pants are very full and flare out in a gentle swoop of fabric as they fall to the floor. Each is a full 34" around at the bottom hem. At first glance it looks like a full length dress but as soon as you move you realize it is a jumpsuit. I love the addition of the gold cording that has a series of gold metal 'coins' dangling from it. These have been added around the collar and each arm opening. More of it circles the entire waist and because they are set so that they hang from the gold cording they make a pretty sound when you move. It is fantastic and even better in person. Excellent condition.

Unlined and closes with a back painted metal zipper. Each leg is a full 34" around the bottom hem. Hand finished throughout with ribbon edge finishes at the inner hem. There is a good 2.5" turned up under the hem of each leg if you meed more length. It looks to have been worn very little if at all.

Bust: to 18" flat across from side seam to side seam with a B-C cup in room at the front
Waist: 15" when measured flat across the back from side seam to side seam
Hips: to 18" flat across the back from side seam to side seam
Bodice: 13.5" from the neck to the waist seam
Pant length: 47" from waist to bottom hem
Inseam: 31"

Modern Sizing Equivalent: SML-MED

Item# D637

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 was designed by Belgian-born Jules-Francois Crahay, who headed the Lanvin ateliers from 1964-1984. He has been noted as one of fashion’s 'great colorists with his colorful patterns making his 1970s Lanvin designs hugel​y ​desirable and influential.' His time at the Lanvin label is one of my personal favourites for the house. I especially love the his work during the period through the late sixties and into the early 1970s. He was a genius at print and colour and he pushed the envelope in terms of using cutting edge fabrics available during this time period. This dress dates to the period between 1972 and 1975 and it is just exceptional. He really did mix colour and print like no other and I think this is a stunning example of his work. I love when I find great examples of this label from this time period. 

This Lanvin dress is gorgeous. I am in absolute love with it. The dress has a very unusual but gorgeous colour and print combination. The wool challis fabric it is made of is light in weight and holds colour exceptionally well. The colors are still crisp, bright and true. The dress has little cap sleeves and the neckline plunges into a V at the front and crosses over itself. The main print on the bodice is of florals and then that is edged with a striped pattern at the back and front. It zips down the back and I think it's amazing how the pattern at the back has been set so that it doesn't break in an awkward kind of way. The waist is cut with a loose and easy cut and on each side of the waist are attached ties that you can use to cinch it in a bit. Since they are attached at the sides you can tie them at the front as I have or at the back. The ties are printed with the floral print on one side and the stripes on the other. From under the waist the skirt falls to the floor and it widens as it nears the hem. A wide panel of the floral print runs down the center and around the hem. The rest of the skirt is a white dot on a soft brown backdrop. This is all achieved by the print having been screened onto the fabric and not pieced together. Which means that it was all pre-planned and figured out and that each dress made would have had to have been cut out specifically so that the design sits right over the dress. Incredible. The pattern that runs over the entire dress is spectacular and it is an instantly recognizable piece of his work. Rarely do you see someone able to mix stripes, floral and dots all on one piece and have it somehow work and be as beautiful as this piece is. Excellent condition

Unlined and closes with a back painted metal zipper. Attached ties at the waist as described above. It appears to have been worn very little if at all.

Sleeves: 11" around the ends and 9" long
Shoulder: 15"
Bust: 18-19" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: open
Bodice: 15" from neck to waist
Skirt: 42.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3962

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 spectacular Alexander McQueen dress is from the Pre-fall 2016 collection. The presentation version was far more elaborate but I think I prefer this one. It allows you to really see the pattern on the lace and I think can be worn to more functions with its simpler more versatile feel. Vogue's Sarah Mower said in part of this collection; 'There’s a sensuous glamour emerging through Pre-Fall which seems to be hovering somewhere around the ’30s or ’40s. Sarah Burton has pinned it to a theme she called “thinking about a woman’s obsession with the possessions she treasures, like her jewelry and makeup, and the things she collects.” This Pre-Fall character is a properly elegant woman, with red lipstick and a penchant for feather chubbies and velvet ankle-strap platforms, who might reach into her extensive wardrobe and choose between any number of fragile, dramatic gowns for an evening out.' and the lace butterfly dresses were mentioned specifically; 'Well, it’s a delight when fashion can make you fantasize for a moment. Yet the fact is that Sarah Burton has steered this collection gently away from too much stylization. “It's quite feminine, and unconstructed,” is the way she puts it. The patterns of lipsticks, Fabergé eggs, butterflies, birds, and the McQueen skull motif appear as prints on silk dresses and on coats, as well as on the show-stopping embroidered sheer gowns.'

The dress is almost startling in its beauty. It is made from an inner taupey nude silk that acts as the backdrop for the black net lace that sits over it. This allows you to fully appreciate the pattern that is worked through the lace. From a distance it acts as an illusion that you are bare under the lace. The lace itself has large butterflies worked through it that are beautiful. Every line of the dress is perfection. It falls from the shoulder to follow the curve of your body. Seams worked through the dress create the shape that you see but they have taken great care to line up the pattern of the lace along each seam so that your eye is not broken and the pattern remains true as it trails across the dress. From the waist is falls in one long sheath to the floor widening out gently as it reaches the hem. At the back it has a large curved cut out that leaves you entire back bare and exposed. So when you walk away it has a very sensual and sexy feel. The sleeves are the final touch and they are fantastic. Each is unlined so that you see bare skin through the lace. They are cut high and peaked at the top of the shoulder with a little bit of tulle at the inner edge to hold their shape. It is spectacular and a wonderful example of Sarah's earlier work. It is a wonderful dress now and will be a collectible in the future. Excellent condition

Fully lined in silk as described above and closes with a low set hidden zipper at the back. Three button and loops behind the neck. Each cuff zippers to close. Tagged a modern McQueen 42. I see a slight bit of grubbiness around the inner lining of the neck but otherwise looks to have been worn very little if at all. The hips are slim cut.

Sleeves: 25"
Inset shoulders: 13" with natural shoulders approx 15"
Bust: to 17.5" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: 17.5" flat across from side seam to side seam
Length: 58" from neck to hem
Neck: 14" around

Modern Sizing Equivalent: SML-MED

Item# DD3964

Reference Photo: Pre-Fall 2016 Alexander McQueen Collection, Look 33.

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

I have had one of these dresses in the shop before and it is one of my favorites. It's twin walked the runway that season and then the dress was photoed by David Seidner before it was released to the public to purchase. It is a beautiful example of Yves work during this time period and one of my favorite dresses by him. I myself own one and I love it. It is extraordinarily beautiful.

The first thing you will notice about the dress is that it is as light as air. It is made from a feather light silk voile that has enough crispness to it to hold the shape but that adds as little weight as possible. The dress is strapless and the bodice is gathered into soft draping pleats that are gathered in and held in place down the seam on both sides. There is no shaping or boning inside. It simple drapes over your body and your coverage is provided by two layers of the fabric and the opaqueness caused by that double layer of silk combined with the draping. The gathers run from the top of the bodice to just below the hip. The seam that ends at the hip is cut on a slight downward angle so that the visual line it creates adds length. The skirt falls under that to the floor and it is also made from a double layer of the same fabric. The two layers of the skirt float over each other and will move with your slightest movement. Attached all the way around that seam at the hip is a wide sash of fabric. It extends out into extra long ties at one side. This is how you create that fabulous big soft bow at the side. This adds so much detail and volume and I love it. The print that runs over the entire dress is the perfect final finish. It combines a pretty purple with a muted green and an off-white. The fabric has a touch of transparency to it and with the double layer of the silk the pattern floats over itself and there is a depth created by the effect of the two patterns layered over each other that is fantastic. One of my favorite pieces ever. It is even better in person. Excellent condition

The second inner layer of the same fabric acts as the lining. It closes with a side set zipper. It appears to have been worn very little if at all.

Bust: to 17.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 20.5" flat across from side seam to side seam
Length: 52" from top of bodice to hem

Modern Sizing Equivalent: SML-MED

Item# DD3960

Reference Photo: (1) S/S 1984 Yves Saint Laurent Runway Collection. Model: Anna Bayle.  /  (2) Yves Saint Laurent 1983, David Seidner Archives.

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 stunning set is from the Fall 1984 Haute Couture collection and its twin was photoed that season as well. Who knows this might be the actual set! I have included that reference photo here for you so that you can see how amazing it is on the body. I love how they pushed the sleeves up for the shots which gives it a totally different feel. Ungaro launched his label in 1965 after working for both Balenciaga and Courrreges. He was a brilliant designer who was known for his of extravagant fabrics and flamboyance. His Haute Couture pieces are not easy to find and this set is fantastic.

Both of the pieces that make up this set are stand outs and can be worn together as intended or you can mix and match them with pieces you already have to really extend their wearabilty. The inner dress is amazing. It is cut in that signature Ungaro silhouette for this time period. These little fitted dresses were meant to hug and highlight every curve of the body. The dress is made out of a silver silk velvet that has a metallic silver and gold foil worked through the velvet. This gives is a subtle shimmer and allows it to catch the light from every angle. The fabric is hand draped over the entire dress to give it an incredible texture. The bodice has a highly modified sweetheart shape with one side set at a high peak and the other in a soft curve. The gathers are shaped to follow the line of the bust and emphasize the breasts. On the side that it zippers to close there is a pretty strip of hand applied beads and sequins that run down that side of the dress for extra detailing. Over this is the jacket. The jacket is made from an ivory lace that is backed with a silk. Onto the lace is a mix of embroidery work, little silk applique, rhinestones and faux pearls. The shoulders are padded and the top of the sleeve is gathered around the shoulder for a bit of a high capped feel. The sleeves narrow in a touch from there as they reach their ends. The waist is brought in and shaped with vertical seaming and then the hips flare out. There are no closures on the jacket, it is meant to just slip on and sit over the dress. It is finished with a dramatic Ostrich feather border that that wraps around the neck, down the front and all the way around the hem. It is completely made by hand and the proper Haute Couture numbered tape is present. Excellent condition

The dress is hand lined in a ivory silk and closes with a hand set side zipper. The bodice is boned. Interior waist stay hooks to close. The jacket has no closures. Padding in each shoulder. I see minor marks on the interior lining of the dress and perhaps a slight grubbiness to the inner arms of the jacket. Please see the last photo after the label shot.

Dress
Bust: 16.5" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Bodice: 9" from top of bodice to waist
Skirt: 25" from waist to hem

Jacket
Sleeves: 23"
Slightly extended shoulders: 16"
Bust: to 20" flat across from side seam to side seam
Waist: approx 14" flat across from side seam to side seam
Hips: approx 19" flat across from side seam to side seam
Length: 32" from neck to hem, including the feathers

Modern Sizing Equivalent: XS-SML

Item# DD3367

Reference Photo: Fall 1984 Emanuel Ungaro Haute Couture. (via @only_french_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.

Ruben Panis was known for his flair for drama. He started off his career designing costumes for showgirls in Las Vegas and eventually honed his skills by working for both James Galanos and Norman Norell. His gowns were worn by many Hollywood icons like Elizabeth Taylor, Zsa Zsa Gabor. At the height of his career he was charging up to $5000 for a dress which at the time was an exorbitant amount. This is an excellent example of his work and it is just gorgeous.

The dress is made out of a beautiful silk jersey that is the perfect shade of a clear, bright red. The way it is cut is very forties in feel with a bit of that old Hollywood charm. The bust is gathered in soft horizontal drapes that run from the top of the bodice to the top of the hip. Inside it is lightly boned. This gives it structure as well as creating a beautiful curving line that accentuates the body underneath. Running up and around the neck is a tiny strap made of the same jersey. This strap hooks into place at one side and you have the option of tucking it in and wearing the dress as a strapless piece. It is not a huge change but it is nice to have the option of either. The skirt falls to the floor under that and the jersey gives it lots of swing and movement. On each side of the dress is this fantastic and with elaborate beadwork design. The beads have been hand applied and form a large abstract flower that splays across each side of you. In the center of each flower is a small dangle of beads that move when you move. The petals are long and curved around you. I love that from the front you just get a hint of the beadwork so when you turn it's this stunning and magical surprise. Excellent condition.

The bodice is lined in a red silky rayon and the skirt has an inner lining made of the same jersey fabric. It closes with a back, painted metal zipper and the strap hooks at one end. Light boning through the bodice and hand finishes.

Bust: 16.5-17" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Inner hips: to 19" flat across from side seam to side seam
Bodice: approx 15" from top of neck to natural waist, 20" to bottom of the draping
Skirt: approx 42" from natural waist

Modern Sizing Equivalent: XS-SML

Item# DD3304

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

A few years ago I had this dress in the opposite colourway of a red on gold and I was so happy to have found this opposite version with its gold on red. 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. Even when the dress was as bold as this one is. He knew how to walk that line perfectly. This is an fantastic piece of his work and with its glamorous metallic fabric it is even better. The first one flew and I suspect this one will as well. This is one of my all time favourite pieces by him and it is exceptionally beautiful. 

This is an exceptional dress. It is a stunning example of his work during this time period and these metallic pieces are among my favorites by him. The base fabric is a red organza and it is lined in a red silk organza. Fused onto and through the silk are gold lurex appliques that give the fabric a two dimensional pop and makes it gleam and glitter in the light. That gold appliques cover the dress from head to toe with the red organza showing between. I love how each each applique has a red thread detailing running through the design which adds yet another dimension to the overall look of the dress. The neckline is a cut into a low V that plunges to just above to the high set waistline. The bodice skims over you and then is balanced beautifully by those spectacular sleeves. Each sleeve is cut so that it widens as it reaches its edge and then it is finished in a wide border of silk ribbon and split up one side. That same ribbon edging goes around the neckline and circles the waist in a double row. At the front center of the waist is a fabulous embellishment of coiled red and gold fabric. This all tops the skirt that is set into the waist with a series of soft folds. It flows to the floor from there, widening as it nears the floor with yards and yards of fabric. It is a beautiful and dramatic piece of vintage couture. Excellent condition.

Lined through the bodice in a red silk organza and a red silky rayon through the skirt. The sleeves are unlined. It closes with a back painted metal & nylon zipper and hook & eye at the neck. Hand finishes.

Sleeves: 22.5"
Shoulders: 14.5"
Bust: 17" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Inner hips: to 24.5" flat across from side seam to side seam
Bodice: 14" from shoulder to bottom seam of the 3" band
Skirt: 40.5" from bottom seam at waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3957

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 was shown in the xx collection in a solid blue and then made in a couple of patterns. This dress in its metallic red rose print was one. The Attico brand was founded by Gilda Ambrosio and Giorgia Tordini and the line has a vintage vibe to it that I love. This dress has never been worn and still has its original hang tag attached.

The dress is brand new and unworn. It is made out of gorgeous fabric that has a red metallic rose print with green leafs running over its surface. The print is fabulous and completely covers every inch of the dress. The fabric is light in weight and adds to its ultra sexy feel. It is easy to wear too. It simply wraps and ties to one side of the inner side seam and then it snaps into place under the half bow of fabric at the waist on the other side. The front plunges down into a low V at the neck and the bodice is cut on a on a flattering curve. It is set wide across the shoulders and the sleeves pouf out around the upper arm and then taper into the wrists. The ties and snap cinch it in at the waist and then it curves around the hips. It is cut micro mini short. It is brand new and unworn. Excellent condition

Unlined and ties to close at the inner side and then the bow snaps into place. Tagged a size 38. Unworn and pristine. The wrap does give it a bit of play for sizing

Sleeves: 23"
Slightly inset shoulders: 13"
Bust: to 16" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam and adjustable more
Hips: to 20" flat across from side seam to side seam and adjustable more
Length: 31" from neck to hem

Modern Sizing Equivalent: XXS-SML

Item# DD3956

Reference photo: Spring 2019 Look 11, Attico

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

Antony Price launched his label in 1979 and quickly became known as one of the more glamorous designer of the eighties. His work tended to have a mix of femininity and toughness that showed off the body and often had dramatic over-the-top finishing touches. Supermodel Jerry Hall was a muse and the rock and roll crowd adored him. You can see that mix of tough and feminine in this fabulous little dress with its elaborate gathers and its fitted one shoulder silhouette.

The dress is made out of a black taffeta and all of the gathers have been set by hand. The dress and its gathers have been molded around the body on a curving angle that are set to slope down on the same line as the shoulder. The fabric and the way that it has been gathered gives the dress a slight bias cut to it so that it moves easily over the body once on. It is a dress that is meant to curve and wrap around your body like a second skin. It is very sexy. The waist curves in and the skirt is cut slim and fitted. What is fascinating about this dress is that the zipper closure is set the follow the curves of the gathers. Instead of a normal vertical zipper at the side or back, he has set his zipper to wrap around the body so there is no line to break the design. This not only completely hides the zipper perfectly but might also have been done so the girl wearing it could have the option to leave the zipper open a bit to show a little skin if she wished. This is a dress that needs an actual body in it to make it truly come to life. It is amazing. Excellent condition.

Fully lined in a black silky rayon and closes with a curving set zipper as described above and shown in the photo. Appears unworn. Tagged a size medium on the handwritten tag but cut small

Bust: to 16" flat across from side seam to side seam
Waist: to 13.5" flat across from side seam to side seam
Hips: to 18.5" flat across from side seam to side seam
Length: 40" from top of shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD2758

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 and I love that I can date it based on the very similar one that was used the a Vogue shoot that year. It gives you a better idea of how it will look like once on a body.

The dusty pink mauve coloured sequins that cover that entirely this dress are so densely applied that they actually overlap one another. There are hundreds of thousand of sequins used and it is incredible. Mixed in with those is a band of gold beads that wrap around the hips. This is set around the on one side and widens out over the hip and then narrows to a point where it meets the low set waist seam. Another triangle feeling band sits at the hem of the skirt on the opposite side. This time done in silver sequins. It is cut in that fabulous eighties big volume on top over a fitted skirt. The shoulders are strong and padded for shape. The neckline is scooped and the sleeves are long. The bodice is cut long and it is meant to blouse out over the skirt. Inside there is a silk lining in that same purple and then the sequin fabric is also lined in silk. It buttons down the back and you get a tiny glimpse of skin between the buttons. The sequins catch the light at your slightest move and its fabulous in person. Excellent condition.

Fully lined in silk with a low set inner zipper at the waist and a series of buttons down the back. Padding in the shoulders, It is meant to be oversized at the top so the hips are the most important measurement to consider.

Sleeves: 22"
Shoulders: 14.5"
Bust: to 19" flat across from side seam to side seam
Natural waist: open
Seam at top of skirt: 15.5" flat across from side seam to side seam
Hips: 17.5" flat across from side seam to side seam
Bodice: 19.5" from top of shoulder to seam at top of skirt
Skirt: 22" from waist to hem

Modern Sizing Equivalent: XXS-XS

Item# DD3953

Reference Photo: Models in Bill Blass, Vogue, October 1982.

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

Adolfo started his career under Balenciaga and like Halston he was a successful milliner before opening his own fashion house. He became know for his Chanel inspired suiting and beaded pieces. Adolfo often did custom work for his clients who ranged from the Duchess of Windsor, to Jackie Kennedy Onassis, Gloria Vanderbilt and Nancy Reagan. He even won a Coty Award in 1969. I love his work and this is a gorgeous set.

When worn together the pieces have the feel of a dress. But being three separate pieces you have the versatility to wear them with other items you already own and really extend the life of them. All three pieces are made out out of a light weight silk lame that has gold metallic thread running through the fabric. The silk of the sleeveless tank top combines two shades of gold. The skirt has that same gold set as a wide band around the hem. Then the body of the skirt is a gorgeous purple silk. Onto the purple is a wavy design in a gold and a metallic green. The green especially catches the light with the smallest movement and it is fabulous. The skirt is fitted at the waist with a gold bad of fabric and then widens out as it nears the hem. Depending on your height this should fall at a mini length. It also comes with its original gold tie belt that is finished with long purple silk cord and tassels. This is one of those pieces that is even better in person. Excellent condition.

The top is unlined and the skirt has a second interior layer of the gold silk lame. The top buttons at the back of the neck with a fabric covered button and the skirt closes with a zipper and hook & eye at the waist. Pockets on the hip of the skirt. The top is bias cut so has some give.

Top
Bust: 16-19" flat across from side seam to side seam
Waist: 15-18" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 19.5" from shoulder to hem

Skirt
Waist: 12" flat across from side seam to side seam
Hips: open
Length: 38" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2626

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

This dress is one of the several versions that were produced for the Fall 1987 season. Versions  and variations of the dress were done for both the Haute Couture runway and Rive Gauche. A somewhat similar version in pink and black, worn by Naomi, was featured in the fall ad campaign for the Rive Gauche label. As much as I love the pink version, I think that the all black is even more wearable for a larger variety of occasions. This dress is also one of the most dramatic of all the similar examples I have shared here and I love that about it.

The dress is strapless with a wonderful curved bodice and short fitted cut. The fabric is so unusual. It has a slight bubbled textured feel to it which makes it a much more interesting choice than a plain black fabric would have. I love the ruffle detailing that finishes the edges. This is a classic YSL touch that adds to the impact the dress has. The ruffles follow the upward curving edge of the bodice and then go all the way down and around the back. A double layer of wider ruffles edge the bottom hem to give it extra volume and flare. The front of the skirt has an extra apron-like overlay that has allowed him to curve one of the ruffled finishes along its edge and up to the hip. At that side of the hip is a large black bow set slightly to the back if the side. The bow is made of the same silk taffeta that the ruffles are made from. This adds incredible volume and I love it. Everything about the cut of the dress is done to highlight the curves of the body from the way the hem is set to that final ruffle that curves across the back. It is gorgeous. Excellent condition

Fully lined in a black cotton and the interior bodice is lightly boned for shape and support. Inner waist stay that hooks to close  and the back closes with a fine metal zipper. Tagged a vintage YSL 38

Bust: 15.5" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Length: 31" from top seam of the bodice to hem and the top ruffle adds 2.5" inches above the top seam of the bodice

Modern Sizing Equivalent: XS-SML

Item# DD3090

Reference Photos: (1) Naomi Campbell for Saint Laurent Rive Gauche, F/W 1987.  /  (2-3) Yves Saint Laurent Haute Couture S/S 1987 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.

Bill Gibb was one of the most influential designers in 1970s Britain and his clothes were worn by the rich, the famous and the beautiful. He was crowned Designer of the Year in 1970. Much of his work verged on couture and he was unrelenting in striving for perfection. His work has a high fantasy element to it. Every piece I bring into the shop is very special and I love this one especially as it truly shows the range of his work. This set is also a little extra special because its near twin resides in the permanent collection of the Victoria & Albert Museum. Theirs is a skirt and similar jacket while this one is an actual dress and jacket. They dated it with a general reference to the 1960s but I feel that it has more the feel of the 1977 collection after finding the reference photo of a piece with similar details on it. Bill Gibb's work is extremely rare to find and knowing that this one is important enough to have been acquired by a museum is just an added bonus for a collector .

My photos cannot convey how beautiful this dress is in person. The dress is amazing in its own right and is a stand out. It is suspended from the shoulders by two tiny straps. The bodice is set high for an empire feel and then the top is shaped and covered with the gold netting. The fabric is beautiful. It is a fine deep ivory netting that has a touch of a taupe gold feel to it. A pattern is then worked through it with a gold metallic thread. The gold is done in a fine floral design and this runs over the entire dress. Behind the netting the dress is lined in a fine silk that gives depth. The gold pattern becomes denser as it nears the hem so that the effect intensifies. The entire dress shimmers and catches the light from every angle and it is incredible to see in person. The skirt falls from under the bodice and it has been meticulously pleated into knife pleats that are the exact size of the one beside it. This helps to add some volume to the skirt while still giving it an ethereal fairy tale feel. The silk lining underneath is the palest taupey gold pink and this gives the netting just a touch of a pink feel to it in certain lights. It is incredibly beautiful. You can then slip on the jacket which is cut to fall over the full length of the dress. It has simple sleeves and is made out of a pale pink silk chiffon. Onto the silk of the jacket is an extensive pattern that has been embroidered by hand. The jacket is made up of four panels of fabric that are split along the seams between each panel from the hem to the waist line of the dress. These sit open along the seams and allow the fabric of the dress to show underneath when you move. The embroidery work in this piece is done in a combination of soft corals, mint and ivory. The tiniest little seed pearls detail parts of the embroidery and all of the edges of the outer jacket are finished with gold lace. It is a beautiful example of his work and would make an amazing wedding dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. And of course it could also be worn to any big event and you can also wear the pieces seperately. Excellent condition with one tiny note below.

The dress is fully lined in silk and closes with a side metal and nylon zipper. The overlay is unlined and slips on to wear with hook and eye at the very top. It appears to have never been worn, or worn very little. I see one small mark on the front panel of the chiffon jacket near the hem. Please see the photo after the label shot.

Dress
Bust: to 16" flat across from side seam to side seam
Waist at seam: 15" flat across from side seam to side seam
Hips at inner lining: 19.5" flat across from side seam to side seam
Bodice: 13" from top of straps to empire waist seam
Skirt: 44" from waist seam to hem

Overlay
Sleeves: 19"
Shoulders: 14"
Bust: to 17" flat across from side seam to side seam
Waist- hips: open
Length: 52" from top of shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD3079

Reference Photo:  Bill Gibb Set from the V&A Online Collection.

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

Bill Gibb was crowned Designer of the Year in 1970. He was one of the most influential designers in 1970s Britain and his clothes were worn by the rich and famous. His work has a high fantasy element to it that I love. Much of his work verged on couture and he was unrelenting in striving for perfection. This dress is from his 1976 collection and version from that same collection with similar elements use for it was photoed on Tina Chow for Vogue that season. His pieces were never produced in large quantities and this one is exceptional. It is wonderful to have such a gorgeous example of his work in the shop.

This amazing set is actually two separate pieces which is lovely as you can mix and match them with pieces you already own to extend their wear. The top piece is this fantastic evening coat that is pure drama. It is made out of a pale pink silk netting with a built in inner bodice piece that is made out of pale pink silk. This sits over a full length skirt that is made out of a fine silk chiffon with a soft pink silk lining. The top layer of silk on the skirt is knife pleated all the way around. This gives is some volume and movement when you walk. Around the hem are three stripes of silk satin ribbon in a pale blue, a pink and a mint green. This same ribbon detail is also used to edge the inner silk of the jacket. The effect of seeing the stripes on the skirt and the top through the netting of the jacket is stunning. The inner top also has the same knife pleat finish so that it feels like one ling piece under the netting once on the body. The very top layer that floats over everything is a silk netting that has been hand embroidered with a flowers and vines design. The design has done with a soft pastel thread that has a metallic silver running through it. This covers the entire outer later and gets denser as it reaches the hem. The thread itself is the same colour combination as the ribbons on the skirt and under the top but with that metallic finish. The final effect is incredibly beautiful and romantic. The edges of the jacket are finished with silver cording and there is a long tie of silver cording at the neck. The sleeves are incredible. They are cut extra long and each has an inner knife pleated inset made out of a pale pink silk chiffon. They pouf out from the shoulder and are caught up just below the elbow. On an actual arm they are meant to sit up on the arm where they are brought in so that they netting above is very full. Below that the lower sleeve is cut to flare out and widen as it reaches the end of the sleeve. Each sleeve has the same hand embroidery detailing as the body of the jacket. Long silver cords hang down from the seam at the elbow.

No matter how much you might love the photos this one is even better in person. The workmanship in it has to be seen in real life to be fully appreciated. It is a beautiful and glamorous dress that is red carpet worthy and would make an amazing wedding dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. And of course it could also be worn to any big event. Excellent condition

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3081

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

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

This is a beautiful Emilio Pucci dress that is made out of one of his signature silk jerseys. This fabric held colour wonderfully and is part of the reason why even all these decades later that the dress is still so vibrant in feel. The dress is covered with one of his iconic prints that suggests bold florals. This one is a mix of several shades of ocean blues with grey and ivory pops. The dress is easy to wear. The bodice crosses over itself at the front and there is a little hidden set, silk covered snap to hold it perfectly in place. A contrasting border edges the neckline and runs down to the the slightly high set waist. The waist is also detailed with a printed border that curves around you and there is a panel of it that runs down the back of the skirt. The sleeves are long with a bit of volume over the cuffs and each wide cuff is a double panel of the border print. Under the waist the skirt falls in a sleek line with a slight A-line cut. There are hidden pickets along each hip. This is a classic Pucci silhouette and very sexy despite it not being super form fitting. The contrasting printed bits help to define the cut of the dress and draw the eye into a pretty silhouette. This mix of blues is always one of my favorite of his prints and the pattern is bold and beautiful. The dress appears to have been worn very little if at all. Excellent condition.

Unlined and closes with a painted metal zipper at the side. Tagged a vintage Pucci 12. The fabric does have slight stretch. Each cuff closes with a newer looking series of hidden set snaps and there is a silk covered hidden snap at the bodice as described above. Hidden picket along each hip

Sleeves: 26"
Shoulders: 15"
Bust: 16-18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 20-22" flat across from side seam to side seam
Bodice: 14" from neck to bottom seam of the 2" band at the waist
Skirt: 26.5" from bottom seam of the band at the waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD2718

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 exact twin of this dress, with an optional belt at the waist, was shown on the Fall runway in 2015 for Look 51. In Vogue's review of the collection journalist Nicole Phelps noted the new guard that the brand was under that season saying; 'Tonight was the night. Peter Copping, Oscar de la Renta's handpicked successor, made his runway debut....De la Renta and Copping were to have worked side by side, but de la Renta's death, just days after Copping was appointed last October, prevented that. Copping left a type-written note on each seat: "I am immensely proud to have been chosen as the creative director of Oscar de la Renta," he began. "Unfortunately things did not go according to our plans and I never had the chance to work with Oscar, which is something I deeply regret." ... Copping had just three months to put together the collection, significantly less time than he's used to. Those challenges aside, he did a fine job honoring de la Renta and the house that he has inherited.' This is one of the final gowns of the show and is utterly beautiful. We of course know that staying at ODLR was not in the cards for Peter but it is still always a good thing to have a piece from a debut collection and a piece of a brand's history and legacy.

This Oscar de la Renta dress is stunning. It is red carpet worthy and would even make an amazing wedding piece for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. It is in fabulous condition and has never been worn. It still has its original hang tag attached even. The dress builds on Oscar's legacy and stays true to the houses aesthetic. It combines an open lace bodice that tops a silk chiffon skirt. The bodice is cut to be very fitted to the body from the top of the strapless neckline to where it ends under the hips. The bust is strapless and fitted. It is cut to dip down a touch at the back. The upper back is left bare. It tightly hugs the body, curving in at the waist, and then skims your hips. The seaming to create that beautiful shape is all hidden and this shape gives the the dress a sense of added length. It is made from a black crocheted feeling lace that is done in a floral pattern. This lies over a white silk base so that the pattern of the flowers absolutely pops. The silk under the lace has the texture of a grosgrain ribbon and this adds a touch more depth. It has a full built in boned corset inside the bodice so you don't have to worry about additional underpinnings. There are also full built in underskirts for the low set skirt that sits under the elongated bodice. The skirt flows directly out from the bottom of the bodice and has an insane amount of volume. There is a wide inner band of stiffened netting that circles the hem to help hold the skirt up and keep the shape. It is made out of silk tulle, a silk organza and then bands of a floral ribbon lace are worked in vertically. These are all pieced and sewn together in vertical rows that give it all of that volume that you see. There is a band of black velvet that details where the skirt and bodice meets and this falls in long ties at the back topped with a bow. It is just heavy enough to hold the shape and structure of the dress but even with all of that fabric it is not so heavy that it is uncomfortable to wear. The movement of the skirt when you walk is incredible and you can see in the runway video we have added for reference just how amazing it is on. For the runway they styled it with a thin pink belt for a pop of colour. You could easily emulate this at home with any colour you wish or just wear it on its own and keep it simple and easy. It is a beautiful dress. Excellent condition.

There is a full built in cupped corset that closes with its own zipper and then the dress closes over that with a back hidden set zipper. The rest of the bodice is lined in an ivory silk taffeta. Inner net and tulle skirting are finished with a wide band of stiffened netting. There is an inner silk layer with a stiffened hem and then a tulle and silk layer over that and between the outer silk. Tagged an ODLR 8. This has never been worn and still has its original hang tag.

Bust: 18" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Bodice: 25" from the top of the bodice to the bottom of the black velvet seam
Skirt: 34" bottom of the black velvet seam to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3941

Reference Photos/Video: Fall 2015 Oscar de la Renta Runway, Look 51 worn by Kadri Vahersalu.

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

If I am deciphering the tag on this dress correctly it is from the Fall 2016 collection. It was not a runway piece but it was not unusual for other pieces to be produced for retail by the brand. It is a gorgeous dress. From his very first collection for the Fall of 2002, Alber brought a beautiful silhouette to the house that was flattering to women but still was very easy to wear. This dress is based on just that theory and it is incredibly easy to wear. The dress is suspended from the shoulders by a thin strap that curves down to the back. It then passes through grommets and ties across the back to keep it perfectly in place The rest of the upper back is left bare above the dipped V there. The front also dips in a V and then the dress closes down the front with a series of gold edged glossy black buttons. It is cut in a loose and easy line that widen out as it nears the hem. At the waist are drawstring ties that run through a hidden tunnel running around the waist. You can use those to cinch in the waist as much as you like or leave them more open to get a more sheath dress feel. This makes it incredibly comfortable and accommodating once on the body. Pockets are hidden along each hip for a touch of ease to the design and the skirt is cut super model long. The body of the dress is a soft black lace feeling fabric with a nude silk underneath to give the illusion from afar that you are bare. It is then finished with an extra wide ruffle of the lace at the hem. It is also very versatile with the ability to go from day to night with a simple change of accessories. This one has never been worn and still has its original tags attached including an extra button. Excellent condition

The body of the dress is lined in a nude silk and the bottom ruffled part is unlined. It buttons to close with a drawstring at the waist as described above. Tagged a modern 34 but seems extremely generous in cut for that size so please check the measurements below . New with original tags

Bust: 18" flat across from side seam to side seam
Waist: 13-17" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Bodice: 16" from top of shoulder to waist
Skirt: 46" from waist to hem
Front skirt opening: 29: from hem to first button

Modern Sizing Equivalent: MED-LRG

Item# DD3942

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 rare and hard to find dress. The shorter black and white version was used in the ad campaign that year photoed on Supermodel Christy Turlington. This was one of the iconic pieces of that season and I am very pleased to have found this example. And do I dare say that I love the pink version better then the one used for the ad campaign?

The spring 1990 collection was fully of whimsy and ruffles. It highlighted just how well Yves could do a feminine piece with a bit of wit and romance. The dress is made from a light weight silk organza that holds the shape and volume that you see beautifully. It has been dyed to a soft pink and then has black dots worked over it from top to bottom. The front of the bodice is scooped and edged with his signature black braiding. The bodice is cut to skim over you and then comes in a touch at the waist. It skims past the waist to end at the top of the hips. If you wanted to add more shape you could easily add a belt to really define and cinch it in. At the back the dress has a series of glossy black buttons that pick up in the dots in the print. The seam that runs around the top of the hips is set on a curve and at the back it dips down just a touch for a pretty feel. The skirt is set into that seam and it is gorgeous. It is set in a series of soft pleats that give it the volume that you see. There is a tremendous amount of fabric in the skirt. At the front it falls to just above or at the knees depending on your height and then it curves down and around to fall to mid-calf or the ankle, again height dependent. The bottom edge of the skirt is finished with a wide ruffle and this just increases the volume and movement that the skirt already has. The fabric is light enough that the skirt will move with the slightest bit of air. When you move it moves. The last perfect touch are the sleeves. They are cut to the elbows and each is finished with the same ruffle and the skirt. It wraps all the way around the edge and then runs up the side for a bit of a jaunty flare. I love it. This dress is beyond in person and far better then how it even photoed. Excellent condition with a note below.

The top is lined in a matching fine silk and the skirt and sleeves are unlined. It closes with a back zipper under the decorative row of buttons. The buttons on the cuffs are decorative. here is a small inner hip panel under the skirt. There are some areas of yellowing on the ruffles of the skirt on one side and a tiny colour run mark. With the volume that the skirt has this is very minor. Please see the two photos after the label shot. Tagged a 40

Sleeves: 13"
Shoulders: 15-16"
Bust: 18.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Seam at top of hips: 18.5" flat across from side seam to side seam
Inner hip panel: to 21" flat across from side seam to side seam and if you added to that the hips would be completely open
Bodice: 21" from top of shoulder to seam at top of the hip
Skirt: 15" from seam at top of the hip to front hem, 34" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD3940

Reference Photos: (1) Spring 1990 Yves Saint Laurent Runway.  /  (2-3) Christy Turlington in a Saint Laurent Rive Gauche dress of polka dot Abraham fabric, for the Spring 1990 Ad Campaign, photographed 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.

When this Balmain debuted it was sold exclusively through Farfetch. That means that very few were produced and it was a very hard dress to get. It immediately sold out and there as only one production run released which has made it a very rare dress to find.  'Welcome to my jungle' said Olivier Rousteing to Vogue that season and went on to say that this was his most personal collection ever. It's twin was worn by supermodel Karlie Kloss to the Balmain after party that season which give you an amazing glimpse of how it looks like once on. It is a very special piece and I love it.

The dress is made from a leopard print silk jersey that is cut supermodel long. The fabric has some weight to it because of the sheer amount of it that there is and this helps to keep the drape and flow of the skirt perfectly in place once on the body. It is cut in a high set halterneck at the front and the fabric there is gathered in vertical folds so that it skims over you. A wide band of black curves around the neck and then down the sides. At the waist it forms a criss cross pattern around the waist that curves around to the sides. At the side of the waist between the black the fabric is again gathered in for detailing. The black bands gives the illusion of a waist cinching corset belt and draws the eye while highlighting the curves between the bodice and that amazing skirt. At the back the dress closes at the nape of the neck with two snaps and both are topped on the exterior of the strap with a gold raised lion head. It scoops into a low curve under that to leave your entire upper back bare. The signature chunky, exposed Balmain zipper sits low at the back. The skirt falls to the floor from there and there are yards and yards of fabric in it. The hem is cut longer at the back so that you have a bit of a train and at the center of the front it is split to the thigh. So when you walk you have this flash of leg showing and when you walk away it is equally as dramatic. It is amazing. It was never worn and is like new. Excellent condition

The dress has a full black stretch jersey inner lining. It closes at the back of the neck with snaps and at the low back waist with a zipper. Tagged a modern Balmain 42.

Bust: to 18" flat across from side seam to side seam
Waist: to 13" flat across from side seam to side seam
Hips: open
Bodice: approx 16 " from top of bodice to waist
Skirt: 48" from waist to shortest part of the front hem, 65" to the longest part of the back hem
Front slit: 33" from hem to top of slit

Modern Sizing Equivalent: SML-MED

Item# DD2970

Reference Photos: Karlie Kloss at the Balmain After Party on September 25, 2014 in Paris, France.

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 jumpsuit was one of the standout pieces of the Fall 2009 Gucci collection. Lily Donaldson wore it on the runway with a blue fur chubby topping it for Look 8 of the show. They also showed a silver version at the end of the show which I included a photo of so that yuou can see how it looks like on the body. In Vogue's review of the show mentioned her pant looks with this skinny leg saying; 'Giannini's personal imprint, repeated many times throughout the show, is the "Frida" pantsuit, which she introduced as a boyish balancer for all the glam gowns in her first collection. Now it has acquired bigger shoulders and a relaxed-hip, skinny-leg trouser fit, and, given its many representations in fabric options running from silk to jacquard to silver sequin to metallic leopard spot, it must be vindicating itself as a house best seller. For which, well done.' The twin of this jumpsuit was featured in the ad campaign that season making it a fabulously well documented piece from this part of Gucci's history

The jumpsuit is made out of a slinky silk jersey that has incredible drape and movement. This is a piece that is meant to come to life once on the body. You have to look at the runway photos to get an idea of how this will drape over the body because my dress form does not come close to doing it justice. It is cut with a simple tank style bodice at the front suspended from two skinny straps that curve up and over your shoulders. It is meant to blouse over a bit at the waist for a slouchy easy feel. At the back it dips extremely low with a tie running across the back to hold it in place. This leaves the majority of your back bare and exposed and is very sexy. The jumpsuit skims over the hips from there and narrows down to the hem for a skinny fit leg. At each side of the top of the hip / low waist there are ties inside an enclosed seam that allow you to cinch it in and get it to sit how and where you want. This allows you to bring the waist up and have the top blouse over more or you can leave is super loose and have that seam sit on the hips for a full and easy feel through the waist. A strip of velvet runs across the top and then down each side for a slight nod to a men's tux. It is fantastic. It looks like it was worn very little if at all. Excellent condition 

Unlined and you step into it to wear. The back ties into place and the waist is adjustable as described above. Tagged a size 38 and seems generous since it is supposed to drape and tie into place around you. The fabric does has stretch so should fit a range of sizes. It is very hard to measure given its loose and easy cut.

Waist: to 16" flat across from side seam to side seam and can adjust with the ties
Hips: 18-21" flat across from side seam to side seam
Bodice: approx 20" from top of shoulder to dropped waist
Pants: 42" from waist to hem
Inseam: 33"
Rise: 13"

Modern Sizing Equivalent: XS-MED

Item# DD3930

Reference Photos/Video: (1-4) Fall 2009 Gucci Runway Collection. Look 8 worn by Lily Donaldson.  /  (5) Look 41 worn by Lily Donaldson.  /  (6-7) Fall 2009 Gucci 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 dress was designed by Belgian-born Jules-Francois Crahay, who headed the Lanvin ateliers from 1964-1984. He has been noted as one of fashion’s 'great colorists with his colorful patterns making his 1970s Lanvin designs hugel​y ​desirable and influential.' His time at the Lanvin label is one of my personal favourites for the house. I especially love the his work during the period through the late sixties and into the early 1970s. He was a genius at print and colour and he pushed the envelope in terms of using cutting edge fabrics available during this time period. This dress is from the early part of the 1970s and it is incredible. The Lanvin label is numbered. It is just stunning in person. Far better then the photos do it justice.

This dress is incredibly made and is shockingly light in weight. It is also cut beautifully. The net lace is very fine and light in weight and then it is backed with a blue silk chiffon through the bodice and a more opaque blue silk through the skirt. The bodice and sleeves have a touch of transparency to them that you can work with and be daring or wear something underneath. Either way it is an unexpected touch of sexiness that offsets the full coverage of the dress. It is made out of a deep blue silk net with embroidered flowers and leafs in a matching blue thread. Gold thread was then embroidered over parts of that design and this was done over the entire dress. The gold catches the light from every angle so that the dress sparkles and glimmers. At the bottom of the skirt there are two wide panels of a thatched metallic gold thread. These are set at the hem and then just above that and really anchor the dress and add visual excitement. The bodice is cut to skim over you and the sleeves are long. Each sleeve ends in an elastic so has a bit of a pouf above the cuff. The waist is seamed but not super cinched and you could add a ribbon or a belt if you really wanted to add more shape. The skirt falls to the floor with a long cut from there and widens out as it nears the hem. Those added panels of gold at the hem help it to retain its volume and shape when you have it on. It is just stunning and even better person. The fabric has so much texture and the metallic bits pick up the light perfectly. It is an absolutely wonderful numbered piece. Excellent condition 

Fully lined in a bias cut blue silk chiffon through the top and a silk through the skirt. It closes with a back hand set zipper and there is elastic in each cuff. Hand finishes. The label is numbered and it looks to have been worn very little if at all. The boas cut of the lining and the net give it a little give so I have put the comfortable range of measurements where it will give a bit.

Sleeves: 26"
Shoulders: 14.5"
Bust: 17-19" flat across from side seam to side seam
Waist: 14-15" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Bodice: 15" from shoulder to waist
Skirt: 43" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3925

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

Bill Gibb was one of the most influential designers in 1970s Britain and his clothes were sought out and worn by the rich and famous. His work has a high fantasy element and he was crowned Designer of the Year in 1970. Much of his work verged on couture and he was unrelenting in striving for perfection. I love finding his worn becasue its rare and exceptionally well made. It represents the more fantastical side of British fashion during this time period and I love that. 

This dress is amazing and a wonderful example of his work. It may not be what you typically think of when you see Gibb's work but it does show the range that he was capable of. The dress is made from a silk chiffon that has been dyed to a deep fuchsia that gradually darkens to a deep mauve. I love how the color deepens as it goes down the dress. The bodice is cut with a wide sleeve that comes out from the gathered and corseted waist. The neckline at the front and back dip in a deep V to meet the high set waist. This creates a beautiful shape that is far better on a real body then how it looks on my dress form. The front neckline is detailed with a little fabric flower that is finished with sequins to pick up on the detailing on the skirt and to tie the top and skirt together. The body of the dress is one large extra wide band. The silk is gathered over it and it is given  support and shape by that gathering and the seam work inits construction. This runs right to the top of the hip. The skirt cascades to the floor from there in a sweep of silk chiffon. Fused directly minor the silk of the skirt is a fantastic pink glitter that catches the light every time you move. The inner lining s a pale silver blue silk and having that colour layered under the top colour gives it a very unique effect that is conveyed better in real life then how it photoed. It is gorgeous and really needs an actual body in it to bring it to life. Excellent condition.

The dress is fully lined in a pale silver blue silk and closes with a side metal and nylon zipper. There are hook and eye along part of the bottom seaming of the arm on that side as well. Big iridescent glass buttons on each cuff. Small areas here and there where the glitter has fallen off but its minimal and I am being picky. It appears to have never been worn, or worn very little

Sleeves: approx 23"
Shoulders: no defines seam
Bust: no true side seams so open and variable
Natural waist: 14.5" flat across from side seam to side seam
Seam at bottom of gatherings 24" down from the shoulder: 18.5" flat across from side seam to side seam, skirt is open under that
Length: 57" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3068

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

In 1981 Haslton was still in full control of his brand. He had not yet signed the international licensing agreements that would be the beginning of his downfall in 1983. At this point in the Halston history, he was at the top of his game and anyone who was anybody was wearing the Halston label. His prices were sky high and the work put into the pieces was impeccable. This dress is spectacular. It only has its made in India label that his things from this time period have in them, however, this has a matching jacket that my client was not yet ready to let go of and I have seen that jacket myself and it did have its Halston label in it. 

Halston's beaded and sequin pieces were being made in India during this time period. Halston personally chose the fabrics and materials that were used for each piece of his collection and then sent them to India where they were beaded and sequinned to his specific instructions and assembled. The 1981 collection was especially intricate and the majority of the runway garments were heavily beaded and/or sequinned. This dress is gorgeous but tiny. It has no side opening. Instead there is just a light elastic that runs through the waist, so it has to be big enough to go over your hips or shoulders. Once on the one shoulder hooks in place to close. All of the bead and sequin work on it is completely done by hand. Silver tube beads, seam beads and silver sequins are tightly spaced and have been hand applied onto the black silk chiffon. I love the boldness of the silver and how the entire dress glitters and sparkles in the light from every angle. The silk chiffon under the sequins and beads has the slightest touch of transparently to it. The silhouette is very simple with a single shoulder that dips low on one side. The bust then skims over you to the waist. The waist has elastic so once on its blouses a little and then the skirt is cut in pencil silhouette under that. It is very flattering on the body and easy to wear. It is pure glamour. Great overall condition with some notes to review below.

Unlined and has no closures. Elastic through the waist. It slips over the head to wear so you have to be small enough to get it on without an opening as described above. You could easily add a side zipper or snaps along the seam if needed. The bead and sequin work is completely hand done. I do see some areas where beads are missing and some loose beads and threads here and there. With the black underneath they almost feel deliberate and I don't think would be an issue once one. Please see the photos after the label shot.

Bust: 16.5" flat across from side seam to side seam
Elastic waist: 11-15" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Bodice: 20" from top of shoulder to waist bit will blouse up 
Skirt: 25" from waist to hem 

Modern Sizing Equivalent: XXS-XS

Item# DD3908

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 little dress is the ready-to-wear version of the Haute Couture dress that Yves created. I have included the runway photos of the couture version that walked the runway and that was featured in an editorial that year so that you can see how the dress looks on. The ready-to-wear version is a slightly simplified version of it but otherwise looks remarkably the same. He often did this with a few select pieces from his collections so that his non-couture clients had access to his work as well. The 1987 collection is one of my all time favourites and I am very pleased to have this wonderful example from it in the shop for you.

If you are a Yves Saint Laurent fan the second that you saw this dress you would have known that it was his work. This was a definitive look of the Couture collection and I love that he made a ready-to-wear version. I am also glad I have reference photos for you because if there was ever a dress that needed be seen on a body this is it. It really is not being done full justice on my dress form but it is gorgeous on the body. The dress sits off the shoulders to leave a bare expanse of skin. The sleeves are cut to follow the arm to just past the elbow. A pretty chiffon ruffle edges the entire neckline and then another ruffle curves around each wrist. The bodice skims over the bust and comes in at the waist. Under that the skirt flares out dramatically and is quite full. The front of the skirt is cut to the knee, or just above depending on your height, and then the edges of the skirt curve down and around to a full length at the back. The fullness and the length change give it a ton of movement when you move. The fabric is a segment in itself. It is made from a black silk net backed by a black silk tulle. Then onto the top net layer is a design made of black raffia. This gives the dress an incredible texture and the raffia catches the light fantastically. It also means that the parts of the dress that are not lined have a touch of transparency which is very sexy. This is an incredible piece of Yve's history and an absolutely gorgeous dress. Excellent condition with a minor note to review below 

Lined in a layer of tulle as described above and then there is a inner lining though the bodice and to just past the hips that is made out of a gold nude toned silk chiffon covered in a layer of black silk chiffon. It closes with a side set zipper. The raffia has small breaks in it here and there. I have never seen a vintage piece with raffia detailing that does not do this as it ages. It is inherent to the material and normal wear. 

Sleeves: 18"
Bust: 18" flat across from side seam to side seam
Waist: 12-13" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam before it flares out
Length: approx 35" from natural shoulder to front hem, 52" to lowest pint of the back hem

Modern Sizing Equivalent: XS-SML

Item# DD3888

Reference Photos: (1-2) S/S 1987 Yves Saint Laurent Haute Couture Runway Show.  /  (3) Brynja Sverrisdottir in S/S 1987 Yves Saint Laurent Couture. Photo by David Bailey.

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 Oscar de La Renta boutique label first appeared in 1967 which makes this dress from one of his very earliest collections for this line. His boutique label is important as is marked the first ready-to-wear line for a Seventh Avenue designer to be launched. These early pieces have lots of hand finishes and are just stunning example of his work during these early days of his career. 

I love this dress. It is made out of a gorgeous deep brown velvet that gives it a really beautiful texture. The velvet has a flat pile and there is a bit of a vertical texture worked into it that helps add length when you have it on. It is a really stunning detail. To contrast this and give the dress a touch of a metallic feel Oscar then added a wide silver and gold metal thread panel of ribbon to follow the notched neckline. This panel of fabric runs down each side of the neckline and then circles around the collar. That same metallic fabric is used to cover the edges of the matching belt. The belt is fabulous in its own right. It is cut wide and then peaks where it meets in the middle. To close it, it has a long matching velvet tie that loops through the brass coloured grommets and then laces up as tight as you wish. The fabric of the dress is light in weight so that the dress is very easy to wear. It has long sleeves and each sleeve poufs out over the cuff. The cuffs are done in the same metallic fabric to pick up on the belt and neckline. Each is also slit down the sides so you see part of your arm. Very unusual and very chic once on. The skirt cascades to the floor gently widening out as it nears the hem. And it has pockets. It is really a gorgeous dress and very well made. Excellent condition with a minor note below.

Fully lined in a brown silky rayon. Closes with a back zipper and a hook at the top of the neck. Each cuff snaps to close. The inner back of the belt has stiffened a bit and it was stored folded. This does not effect the front at all but you see the fold lines on the back. 

Sleeves: 24"
Shoulders: 15"
Bust: 18.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: to 24" flat across from side seam to side seam
Bodice: 15" from top of bodice to centre of band at waist
Skirt: 41.5" from centre of band at waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3878

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

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

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

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

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

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

Modern Sizing Equivalent: XS-SML

Item# DD3875

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

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

This suit is instantly recognizable as an Alexander McQueen piece and it is stunning. The spring 2008 collection was called 'La Dame Bleue' and was a tribute to his mentor and friend Isabella Blow who had committed suicide on May of 2007 after a long bout of illness. His statement of the show was this; 'Isabella flew. The collection is exuberant and excessive. It's about her way of thinking and that way of thinking brought light into fashion. Even when she was down she was up with what she wore. I had the best times with Isabella. I remember going to Mauritius with her and I'd come back from scuba diving and it would be 100 degrees and she'd be standing on the beach head to toxin McQueen with a Philip Treacy Hat on. Or we'd be sitting around the pool and she'd still be head to toe in McQueen with a Philip Treacy hat on. I've though a lot about why she would wear things like that and she wore them because it made her feel like a diva. She was a diva in what she wore. She pulled it off. I never blinked at what she wore. It just seemed normal. So this was a collection about Isabella ad about wearing clothes that transform you." The entire show was a beautiful testament to someone he loved dearly. In Vogue's review of the collection they said; 'All terrible emotions apart, McQueen, like every other designer, can only be judged in the unsparing light of the general arena of fashion. To put it bluntly, this collection—after an off season last time—was going to stand or fall based on whether his clothes were any good....It stood. McQueen mustered the clarity to dispense with smoke and mirrors and show his capabilities in cut, drape, and feathered flourish to an audience near enough to inspect every detail. He stepped up to the plate by running through all his archived knowledge—Savile Row tailoring in Prince of Wales menswear check jackets and strict, strong-shouldered suiting, combined with the legacy of his couture experience in fan-pleated chiffon, goddess-y drape, and hand-crafted drama. The theme of birds—particularly symbolic of Blow—held the show together through a reprise of all the highlights of McQueen's career... In all, McQueen honored his mentor by striving to bring out the best in himself.' This was the fifth last collection of his career and these last collections are considered to be some of his most brilliant. 

The suit is identical to the one that walked the show with the addition of the wide black patent belt. Very few of these would have been produced and it is amazing to have such an wonderful piece of his work in the shop and to have the full suit with both its detachable feather collar and belt. This one has the extra added provenance of having been lent by me and worn by Sofia Carson for the Unicef 75th Anniversary Luncheon. Its twin was also worn by none other then Michelle Obama for her Ebony Magazine cover

A piece like this truly showcases McQueen’s strong tailoring background and master cutting abilities. The suit is made from a light black wool suiting fabric and gives a nod to his heritage and strong tailoring roots. The jacket is also cut with sharply tailored lines and then he has added that spectacular feather collar and brought in the waist with the belt to create a more feminine shape. The belt slips through slits on either side of the back. I love that it still feels very refined despite its avant garde details and cut. The shoulders are squared off and padded to hold their shape. Each sleeve is cut on a slight curve in the proper manner of tailoring a sleeve and ends in 4 buttons at each cuff. The body of the jacket is shaped with a female body in mind and is cut in at the waist for shape. It closes with a single button there. I am obsessed with the collar. The neckline is edged in a black patent that curves around the neck and narrows down to a point where it then meets the button at the waist. The feather collar is detachable and is made by a thick overlapping of red dyed feathers with black painted edges. It buttons into place along the inside of the collar and is set to stand up and frame the neck. This gives it a very unusual detailing and plays into the avian theme the show had. Under the waist the jacket skims over the hips and it is slightly cropped. Slant pockets sit on each hip and they still have their original tacking. At the back it is cut to flare out a touch. The skirt has been kept very simple so that it is the jacket that shines. It is cut with a flat front and is fitted into a short pencil silhouette. You really need to watch the runway clip to see just how stunning it in on and moving. I also photoed it in all its variations so you can see it with and without the belt and feather collar. The workmanship is meticulous and it is an absolutely beautiful and a rare piece of his work. Excellent condition with a minor note below. 

Both piece are fully lined in a black silk. The jacket closes with a single button at the front. The skirt closes with a hidden set zipper. The feather collar buttons into place and the belt closes with hidden snaps. The jacket is tagged a size 40, the skirt a 42 and the belt is a 38. Padding on the shoulders and the pockets on the jacket have their original tacking to close them. It looks like the sides of the skirt were taken in a touch at some point and when it was lent to Sofia it was taken in a little more with a temporary alteration and you can see a bit of the stitch lines on the inner lining. A bit of crinkling on the belt but it is where it sits under the jacket when on so is not seen when worn

Jacket
Sleeves: 24.5"
Shoulders: 15"
Bust: to 18" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 24" from neck to longest point of hem

Skirt
Waist: to 13.5" flat across from side seam to side seam
Hips: to 18.5" flat across from side seam to side seam
Length: 21" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3870

Reference Photos/Video: (1-4) Spring 2008 Alexander McQueen Runway Collection, Look 26. Model: Raquel Zimmermann.  /  (5) Sofia Carson at the Unicef 75th Anniversary Luncheon, Dec 2021.  /  (6) Michelle Obama in Alexander McQueen, Ebony, September 2008.  /  (7) 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.

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

The dress is absolutely gorgeous. The label that is in it was the one used starting in 1977. Looking at the dress it is almost hard to imagine that it is not from an earlier time period with its decidedly Old Hollywood feel. It is made out of a fine silk chiffon that has been dyed to a deep moss green. In the skirt they are also more olive coloured panels mixed in and this adds depth there. The bust is shaped and structured underneath that draped exterior. You would not think it to look at it but that part of the dress is very formed underneath and hides an inner foundation that follows the complete length of the bodice. The top is cut straight across and it curves in at the waist and then hugs the tops of the hips. A long chiffon panel snaps into place on one side of the interior and you can then drape this over your shoulder to create a few different looks. You can let it sit to cover your entire arm like a half cape or just have it trail down the back for a little floating detail as you walk away. You could also have it float over the entire upper chest to drape over the other shoulder. That panel is completely removable so you could also wear the dress without it for a true starless feel. The panel is long enough to play double duty as a sash or even a head piece. You have a lot pf options with it. The silk has been hand draped over the bodice and I love the contrast between the horizontal draping there against the vertical panels in the skirt. The skirt itself is a marvel. It is literally made up of vertical panels of silk that have been cut in different widths and slightly different lengths. These are layered over a inner single layer skirt of the same silk chiffon. When the dress is on it gives the illusion that you are very bare under the panels. Each panel is set in by hand and this would have been a meticulous and tedious method that would have added several hours of construction time to the dress. The panels give the dress a very unexpected sexy feel as they move around you and give the illusion that you will get a glimpse of your full leg at any moment. The dress is stunning on and the movement that the panel over the shoulder and the panels of the skirt have when you move is stupendous. Excellent condition 

Fully lined in a green silk and closes with a hand set zipper at the side. Hand finished throughout. The shoulder panel snaps onto place with silk covered snaps. It appears to have been worn very little if at all.

Bust: 15.5" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips at the bottom of the bodice: 17" flat across from side seam to side seam
Length: 48" from top of the strapless bodice to hem

Modern Sizing Equivalent: XXS-XS

Item# DD3862

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

Vogue's review of this collection was done by Hamish Bowles who said in part; "With their ironed hair, pale lips, and exaggerated doe-eye makeup, the leggy girls on Karl Lagerfeld's Chanel runway were channeling Penelope Tree, the iconic and kooky sixties model. With a major Chanel retrospective opening in May at the Metropolitan Museum of Art's Costume Institute, Lagerfeld also delved into Coco Chanel's history—specifically a 1920's liaison with the Duke of Westminster that saw her borrowing knits and tweedy pieces from his chic country wardrobe. Lagerfeld feminized his layered cardigan and plus fours with scarves twinkling with diamond camellias and topped them with adorable newsboy caps, knit cloches, or floppy berets." I love the nod to the tweed that the pieces had and the kicky skirts like this one are perfect to pair with a great boot. 

The suit is constructed from an absolutely stunning metallic tweed version of the Chanel signature fabric. The fabric combines a silk thread with mohair and a gold metal thread that he has worked through the entire suit. This gives it an exceptional but subtle sheen and a very luxurious feel. It is absolutely beautiful. To heighten that sense of luxury Karl added a rabbit fur trim to the jacket. The fur has been set to run down the front edges, curve around the back and then also circle the hem. It also details each cuff and the pockets. The jacket is cut in that classic Chanel box shape. The sleeves are long and I love the pockets that sit on each side. It hooks to close down the front with hidden set hook & eye so there is nothing to break the line. The skirt is cut with a slight flare as it nears the hem. It is set all the way around with series of wide flat pleats, giving that nod to the schoolgirl and the sixties the show was based on. The upper part of the skirt is more fitted around the hips and then it opens up to create the beautiful lines that you see. The entire suit is lined in the highest quality camellia flower embossed black silk. This is classic Chanel right down to the chain stitched by hand into the hem of the jacket. It is exceptional. Excellent condition.

Both pieces are fully lined in a black silk embossed with the Chanel camellia flower print. The interior hem of the jacket is finished with one of their signature metal chains. The skirt closes with a hidden set zipper. The jacket hooks to close down the front. Pockets on the jacket and the skirt. The colour and texture are even better in person. Both pieces are tagged a Chanel 40. There is the slightest bit of pilling to the silk on the interior of the jacket from rubbing against the skirt when it was stored. 

And just a note on their fabrics.... The Chanel boucle and tweeds are created with their proprietary method of weaving that they themselves describe as "by weaving the warp and weft, using a variety of different kinds of threads which creates a unique and somewhat irregular appearance. The warp – vertically strung – is the background of the fabric, the base that will support the assembly of materials. There can be up to 12 different threads used for a single warp. The weft – woven horizontally – gives the fabric its unique character and can have an unlimited number of threads. Tight, perforated, textured, thick, with a relief, plaited, random, twill… the potential number of effects is endless". This technique gives you that classic Chanel look.

Jacket
Sleeve: 25"
Shoulders: 15"
Bust: 19.5" flat across from side seam to side seam
Waist: 18.5" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 20" from neck to hem

Skirt
Waist: 15" flat across from side seam to side seam
Hips: 20.5" flat across from side seam to side seam
Length: 22" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3854

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

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

This is an incredible set that dates to the time period when Marc Bohan was head of the Christian Dior atelier. It is a beautiful and early example of the work being produced by Christian Dior in this time period. This is from the Christian Dior-London label and it was considered to be demi-couture from this time period of Dior's history. Pieces with this label where made for the London based Dior shops and the designs were based on the Paris collections. They were produced with many of the same high standard finishes that the Haute Couture pieces incorporated. The line was overseen by John Langberg who was the Artistic Director of Christian Dior London. Langberg would tweak the Paris looks of the house to meet the needs of Dior's London clients. All under the eye and approval of Mr. Bohan. It is exceptional and an excellent investment piece as well. Dior prices continue to skyrocket and finding early and stunning examples like and in this condition is getting harder and harder to do. 

This suit still feels perfectly on point for a modern girl which shows you just how well great design holds up even after 50+ years. The skirt is exceptional. It is cut in a sleek little flare that skims over the hips and then flares out with hidden flat inverted pleats at each side. The actual width around the botton hem stops just short of a full circle skirt. This is all achieved by the cut because there is no pleat work done around the waist. This would have taken a tremendous amount of fabric to achieve and wouldn't even be done in modern production outside of Couture. Around the waist the silk lies flat and neat and is very flattering. When you stand still the skirt lays flat and smooth but when you move you get an incredible burst of movement and volume. The skirt is suspended from a sleeveless top made out of lining fabric. This is a technique that you no longer see done because of the extra fabric it used and longer zipper requirements which also added to the costs. At this point in time though it was the proper way to have a skirt hang perfectly and be the most comfortable for the wearer. Then over that goes the little top that closes at the back with a zipper. It is cut to perfectly fall just over where the skirt underneath begins. It is cut with the slightest of curving in at the waist. It is beautifully constructed and it is cut to fit and flatter the body. The shoulders are soft and the sleeves are capped and simple. I love that there is no collar. It just simply cut with a wide set high scoop at the neckline. A large bow has been set off to one side at the back and partially snaps over the zipper. At the front it is gathered in slightly towards the middle and there is a little strip of fabric there that suggests that it is being held in place by that strip. It is genius and meticulously tailored. The fabric deserves its own mention as it is a very high end silk with a twill like finish. The colour is a beautiful bright pink fuchsia combined with white and it is stunning to see in person. If you are looking for a statement set this is it. It is simple, chis and elegant, yet extremely glamorous because of that stunning colour and silk fabric choice. Excellent condition

Both pieces are fully lined in an ivory silky rayon. The top zips to close at the back and the skirt with its attached lining also zippers to close. A bow snaps into place over the zipper of the top. There is some minor shattering of the inner lining of the top under the arms but they are clean and fresh otherwise and the lining is very stable. Please see the final shot after the label 

Top
Slightly dropped shoulders: 16"
Bust: 19.5" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Length: 17" from neck to hem

Inner Dress/skirt
Bust: 18.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 15" from shoulder to waist
Skirt: 25" from waist to hem with 4" turned under the hem

Modern Sizing Equivalent: SML-MED

Item# DD3847

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 exceptional silk taffeta dress is by Marc Bohan for Christian Dior. It is from the Fall 1985 collection. In the 'Dior Catwalk' book, they include a write up from WWD that said the collection felt; 'young at heart, naughty and smart-chic'. They went on to note that many of the pieces on the collection were designed so that the 'hips are wrapped for attention and the knees are revealed'. The dress is a wonderful example of that young feel he was after and it is certainly a dress that is a reflection of its era. It is also a stunning example of his work during this time period. The dress is made even more special since we found a runway shot of the twin of the dress. For the runway it was styled with a lace mask and a pin nestled in the ruffled shoulder. It is an exceptional dress. 

The fabric of this dress is fantastic and no matter how great it looks in the photos you will love it even more in person. It is made out of a black silk taffeta whose underside in a silver pewter that has a bit of a metallic feel to it. This creates an incredible effect with the ruffles that cover the dress. As they move and flip over themselves you see the silver grey colour and the effect is fabulous. The fabric is light in weight and despite the elaborate construction of the dress is not at all heavy once it is on. Inside the dress has light boning through the bodice to give you some support. The bodice is cut with a modified sweetheart neckline and it is meant to hug the body. It is elaborately gathered and fitted around the bust with all of the gathered folds coming in to the seams that run over the bodice at the front, back and sides. These emphasize your curves and it make the dress very flattering once on. There is a huge and elaborate ruffle that curves around and under the arm and covers the one shoulder while the other is left bare. This gives the dress this fabulous shot gf glamour. More ruffles completely cover the skirt. These ruffles are set all the way around the skirt in a series of vertically placed silk panels. Each panel has been individually set onto the skirt to create the exaggerated ruffled effect that you see. The way they are set onto the skirt allows each piece to sit off of the skirt to create that fabulous volume. I really fluffed them up for the photos and the silk taffeta choice helps to hold the shape that you place it into while still being soft and not stiff. It is gorgeous and I love that we found the reference photo so you can see just how fabulous it is one. The dress appears to have been worn very little if at all. Excellent condition.

Fully lined in a black silk and closes with a side set zipper. The interior of the bodice is boned for support. It appears to have never been worn, or worn very little.

Bust: 17.5" flat across from side seam to side seam
Natural waist: 14" flat across from side seam to side seam
Hips: to 21.5" flat across from side seam to side seam
Bodice: 17" from top of bodice to waist
Skirt: 21.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3841

Reference Photo: Fall/Winter 1985-86 Christian Dior 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.