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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3387

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

This amazing little black dress is from the Marc Bohan years and it is a stunning example of his work during this time period. The dress is made from a black silk crepe and the cut at the front is a play on a classic tuxedo. The neckline is cut into a low scoop and it has the illusion of wrapping over itself and closing with a double row of silk black crepe covered buttons. This gives it that wonderful reference point to a tuxedo while at the same time it adds pretty detailing to the front. The dress is cut to skim over the bodice and then comes in at the waist. A simple black belt in a matching fabric circles around the waist and it partially attached to the dress so that it sits perfectly. I love how even the buckle of the belt is covered in the same fabric so that your eye does not get drawn down to the belt and the line of the dress is not broken. The skirt falls below that in a simple and slim pencil silhouette. The overall effect is very refined and chic. To add a subtle touch of glamour Bohan has edged the neckline all around with a row of glittering crystal rhinestones stacked in a double band. These then curve up and over each shoulder strap where they form a chain and loop pattern. They glitter like diamonds in real life and have far more of an impact then how they photographed. The dress is done to demi-couture standards and the interior Christian Dior label is numbered. It is a beautiful. Excellent condition with one small note below

Fully lined in a black silk and closes with a fine back painted metal zipper. All the inner edges are ribbon finished and hand done. Constructed to demi-couture standards. The buttonholes behind the decorative row of front buttons are properly made. The belt is attached around the waist with hidden snaps and has a slip buckle front. There is a tiny amount of snagging to the fabric here and there. It does not detract but is mentioned for accuracy.

Bust: to 17.5" flat across from side seam to side seam
Waist: 14-14.5" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Bodice: 16" from top of shoulder strap to waist
Skirt: 23" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD2702

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

George Halley started at Charles James who said of the young designer that he 'was a genius at draping'. By the time Halley opened his own atelier in 1966 he was well on his way to fame. He won the Coty Award in 1968 and his work is on par with couture. He is one of my personal favorite designers. In 2015 I included him in my list of: The 10 Designers to Add to Your Vintage Collection' for Harper's Bazaar, saying; 'If you want old school glamour and to feel like Hollywood royalty, look to this under-the-radar label outside of vintage circles... A Coty Award winner in 1968, Halley was one of the great American Couturiers and his work always feels grand and elegant. Think polished silk and fused velvet's and embellishments that have a touch of the Grand Old South to them. Silhouettes to look for are his sweeping ball gowns and hostess gowns. Rich fabrics and rich colors are used with a master's hand. Feathers, crystals, hand painted fabrics and fine workmanship are all things to expect from a George Halley gown. Slipping one on instantly makes a girl feel special and important. These are the showpieces and while you should expect to pay for the quality and beauty of what you get they are absolute jewels'. The best of his work are the pieces that show his love for Old Hollywood glamour combined with his love for over-the-top opulence. Women's Wear Daily called him 'a designer in a lovely world of his own'.

Finding one of his evening coats is a bit of a treat and this particular one is a stunner. It is made of a metallic silk brocade that has a triangle pattern worked through the fabric using two different tones of the metallic yellow gold it is finished in. The design combines a more matte, less bright version of the fabric with the more metallic and brighter finish. The effect that this creates is dramatic and very beautiful. The coat almost has a foil feel to it but it soft to the touch. The triangles are quilted and stitched around their sides and they have a puffed feel to them for a bit of a 3D effect. It is cut in the classic lines of the time period with a simple high rounded collar and straight sleeves that are slightly cropped. The body of the coat skims over the bust then flares out to the hem in a classic tent shape. Pockets lie on a slant along the front and they are hidden along the design so at first you do not see them. Quite clever. I love how the back of the coat has that wide angled shape to it that is so beautiful. Matching buttons run down the front to close. Very chic and the perfect refined pop of colour. Excellent condition with one note below

Fully lined in a matching gold satin. The buttons holes are properly finished along the front. Pockets at the front. The easy cut should allow it to fit a range of sizes. The bottom button looks like the top of it fell off and a bit of the fabric was glued on to compensate. Please see the photo after the label shot. 

Sleeves: 19.5"
Shoulders: 15"
Bust: to 22" flat across from side seam to side seam
Waist-hips: widens out to 25" flat across from side seam to side seam
Length: 40" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# C573

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 became the head designer at Maurice Rentner in 1959 and soon after that his name started to appear on the labels. In 1970 he bought out the Maurice Rentner label and re-launched it under his own name. These Bill Blass for Maurice Rentner pieces, are some of his earliest and you will find many of them, like the twin of this coat, in museum collections throughout the world. Blass was arguably one of the most famous of all the American designers. His forte was the ability to mix simple styles with luxurious materials and his evening wear in particular seem to have a way of flattering the wearer even at their most extravagant. This piece has the additional bonus of being able to be worn as either a coat or a dress

This early Bill Blass coat is particularly gorgeous with its metallic gold and light taupe brown silk brocade fabric. I just sold a blue and gold one and it is a pleasure to have a brown one version now as well. The base of the coat is done in the brown and then onto this, in horizontal rows that run over the entire coat, is an incredible and intricate design that has been created out of gold lame and gold thread. The gold pops off the brown base and has a lovely way of catching the light. The coat has a bit of a military feel to it and I love how the pattern is laid out to highlight the high collar and cuffs. Flap pockets are placed on the front of the coat. One on each hip and then two more on each breast. They are perfectly set to follow the pattern and each has a large bead covered dome button to secure its flap closure. The same big bead covered buttons run down the front giving the coat a neat and polished feel. The shoulders are structured but are not padded. There is a subtle fabric epaulette across the top of each shoulder. The sleeves are long and he took the time to make sure that the fabric on them lines up with the striping on the body of the coat. The fairly simple design of the coat allows that beautiful fabric to take center stage. An interesting thing about this one, it closes all the way to the bottom hem so it could be worn as a dress as well. Excellent condition

Fully lined in a brown silk and closes with silk covered snaps hidden behind each hand beaded dome button down the front. All four pockets are functional. Hand finished throughout. It appears to have been worn very little if at all. 

Sleeves: 21"
Shoulders: 15.5"
Bust: 21" flat across from side seam to side seam
Waist: 19" flat across from side seam to side seam
Hips: 22" flat across from side seam to side seam
Length: 40" from neck to hem

Modern Sizing Equivalent: MED-LRG

Item# C572

Reference Photo: Samantha Jones in Bill Blass, photographed by Richard Avedon, Vogue October 1968.

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

Emilio Pucci is one of my favorite designers and every single dress is a work of art. His colors and prints are mixed with a masterful hand and when you get a good piece of Pucci, it is a piece that you can wear for a lifetime. This ones gorgeous. The print on it is floral pattern that is quite bold. The dress is made out of his signature lightweight silk jersey, a fabric that he preferred because of the way it moved and took color. It is screened with a custom print that combines big bright coral tinted red flowers with softer pink leaves. The print has been detailed with black around the edges and the base colour of the dress is an inky black. The pattern runs over the entire dress and gives it a tremendous pop if colour. At the front the neckline is done with two wide cut triangles of fabric that go up and around the neck to hook at the back. This leaves most of the back completely bare. The waist is defined with a broad band of silk jersey that has the same pattern but is set horizontally within stripes of colour. Under that the skirt flows to the floor gently widening out as it nears the hem. A second band of the print circles all the way around the hem. The entire dress weighs ounces and is just wonderful. Depending on your height this will fall to between  midi to full length. Excellent condition with one note below.

Unlined and closes with a back painted metal zipper. The fabric is a silk jersey and does have some stretch. Hand finished. Tagged a vintage Pucci 8 and is very tiny. For some reason the zipper is set into the dress backwards. The zipper pull is on the inside of the dress. I have reduced the dress to accommodate the cost of switching it back if that bothers you. An odd little quirk only found in vintage. 

Bust: 15" flat across from side seam to side seam
Waist: 11" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Bodice: approx 13" from neck to top of band at waist and the band is 3.5"  
Skirt: 35" from bottom of band at the waist to hem

Modern Sizing Equivalent: XXS-XS

Item# DD3671

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

This dress is from the early 1990s and I think it is from around 1992. His 1992 collections featured a ton of dresses with this same boy short finish inside. It is interesting to note that his dresses from this time period were as well known for their prices as they were for their extreme shortness. In a 1992 article in Elle Magazine they reported that his collection was 'extraordinarily pricey with cardigans run around $1,400 and dresses between $2,500 and $3,500' (just under $7,000 in modern dollars). This was in part due to the specialized fabrics that Alaia was developing. In the text found in that same 10 page spread, Azzedine is said to have been 'delighted in the space-age fabric he used for his Spring 1992 collection. He calls the NASA-developed material 'Relax' for its purported ability to act as a screen against microwave emissions'. Azzedine produced two versions of this dress and I have both versions in the shop today. At first glance they look very similar. This version is the more couture of the two and the hem is finished with extensive hand beading and a real metallic thread. There are also hand placed mirrors worked into the hem. As a result this one is to more expensive but also the one that is more rare and harder to find. Less of these more elaborate versions would have been produced. 

The dress is made from one of Alaia's iconic black stretch knits. These were made to hug the body and define every curve while cleverly smoothing out everything underneath. The neckline is set wide across the front and it and scooped on a square off shape at the corners. It is cut low on the bust and it is finished with a touch of scalloping to the edge. This is a detail that he started to use around this time period and that you still see on the house's designs to this day. The way the knit has been made gives it a structure that is built right into it. Once on the body it shapes and molds the body underneath it while never feeling to constrictive. Alaia pieces are remarkably easy to move in and have more ease to them then some of the other 'bandage' dresses from other designers of this time period who were doing similar body conscious dresses. The sleeves and body of the dress are made from a more flat weave knit that is opaque. Under that the skirt starts low on the hip is cut to swing around you as you walk. It is very short and the knit has a more open weave to it that gives it a semi-transparent finish. The edge of the skirt is finished with an amazing combination of hand set glass beads and marquise shaped mirrors. The beads are done in little stacked horizontal rows on top of a raised vertical metal thread. Mirrors are set by hand in between the rows and and each mirror is held in place by metal thread using a North Indian technique called Abla or Shisha. This gives the skirt some weight and I love the fullness of the skirt and the movement it has once it is on. Under the skirt are attached and fitted knit boy shorts that snap into place. So when it is on you see through the skirt but are fully covered with the short shorts underneath. This is a very rare dress from one of the greatest designers of our time. It is entirely original. Excellent condition.

Unlined and closes at the back with a hidden set zipper. The inner boy shorts snap to close. There is the slightest bit of sheen to the fabric near the seam under each arm. The mirrors show some patina which is a natural part of aging with this type of paste mirror. Tagged a small and the fabric has stretch so should fit a range of sizes. The measurements show the comfortable range laying flat. 

Sleeves: 24"
Shoulders: 14"
Bust: 16-20" flat across from side seam to side seam
Waist: 11-14" flat across from side seam to side seam
Hips: 15-20" flat across from side seam to side seam
Length to inner boy short: 27-30" from shoulder to inner snaps of shorts 
Length: 33" from shoulder to bottom hem of skirt

Modern Sizing Equivalent: XS-MED

Item# DD3001

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

This dress is from the early 1990s and I think it is from around 1992. His 1992 collections featured a ton of dresses with this same boy short finish inside. It is interesting to note that his dresses from this time period were as well known for their prices as they were for their extreme shortness.In a 1992 article in Elle Magazine they reported that his collection was 'extraordinarily pricey with cardigans run around $1,400 and dresses between $2,500 and $3,500' (just under $7,000 in modern dollars). This was in part due to the specialized fabrics that Alaia was developing. In the text found in that same 10 page spread, Azzedine is said to have been 'delighted in the space-age fabric he used for his Spring 1992 collection. He calls the NASA-developed material 'Relax' for its purported ability to act as a screen against microwave emissions'. Azzedine produced two versions of this dress and I have both versions in the shop today. At first glance they look very similar. This version is the more subtle of the two and the hem is finished with a grey knit finish and series of diamond shapes that run all the way around. As a result this one is less expensive then the other one I have today but you get the same feel as the more intricate version just not with quite the same level of workmanship at the hem. 

The dress is made from one of Alaia's iconic black stretch knits. These were made to hug the body and define every curve whole cleverly smoothing out everything underneath. The neckline is set wide across the front and it and scooped on a square off shape at the corners. It is cut low on the bust and it is finished with a touch of scalloping to the edge. This is a detail that he started to use around this time period and that you still see on the house's designs to this day. The knit has structure built into it and once on the body, it helps to shape and mold the body underneath it while never feeling to constrictive. Alaia pieces are remarkably easy to move in and have more ease to them then some of the 'bandage' dresses from some of the other designers of this time period who were doing similar body conscious dresses. The sleeves and body of the dress are made from a more flat weave knit that is opaque. Under that the skirt starts low on the hip is cut to swing around you as you walk. It is very short and the knit has a more open weave to it that gives it a semi-transparent finish. The edge of the skirt is finished with vertical rows of a raised silver grey knit that has a boucle feel to it. Little marquis shapes are created by shaping the grey knit around the black base. The knit detailing there gives the skirt some weight and I love the fullness of the skirt and the movement it has once it is on. Under the skirt are attached and fitted knit boy shorts that snap into place. So when it is on you see through the skirt but are fully covered with the short shorts underneath. This is a very rare dress from one of the greatest designers of our time. It is entirely original. Excellent condition.

Unlined and closes at the back with a hidden set zipper. The inner boy shorts snap to close. Tagged a medium and the fabric has stretch so should fit a range of sizes. The measurements show the comfortable range laying flat. 

Sleeves: 22"
Shoulders: 14.5"
Bust: 17-20" flat across from side seam to side seam
Waist: 12-15" flat across from side seam to side seam
Hips: 17-21" flat across from side seam to side seam
Length to inner boy short: 30-32" from shoulder to inner snaps of shorts 
Length: 33" from shoulder to bottom hem of skirt

Modern Sizing Equivalent: SML-LRG

Item# DD2976

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3653

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

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

This gorgeous set would have been designed by 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 his work with colour and cuts. This set is from the early part of the  1970s and it is incredible. 

This Lanvin set is utterly fantastic. It looks like it could have been pulled from a collection this very season it is in such remarkable condition. I am in absolute love with it. The colour, the design, the workmanship; everything about it is perfection. The fabric that has been used to create both pieces is a fine silk twill on par in quality to the silk twill that you would see used to make Hermes scarves. It has a hand screened with a gorgeous and vibrant print that was applied and pre-planned for panel before piecing it together. Anywhere a seam is necessary, the pattern has been lined up along them so they are barely seen at first glance. The beauty and brilliance of the colour is equaled by the fine workmanship that has gone into constructing it. The top has a loose and easy shape that has been created by a straight cut through the body. The neckline is high and has attached ties that extend out from the neckline that you can then wrap and tie as you wish. The pants are more fitted around the waist and hips and then flare out to be incredibly wide. By the time they reach the hem they are a full 46" around. When you are standing still you get the feel of a skirt and then when you move you have the ease of wearing a pant. They are gorgeous. The choice of fabric has allowed it to retained the crispness of the colour even after all of these years making it feel  new. At the same time it is feather light so once on the body it is is easy to wear and it moves beautifully with you. It is far better on person then how it photoed and like the best of all high quality vintage and couture pieces, it will only really come to life once on an actual body. It appears to have never been worn or worn very little. This is a set that is really like wearing a work of art. Excellent condition

The pants are unlined and close with a back zipper. The top closes with painted metal zipper that runs part way down the back. The top is lined in a bright yellow silk. All the inner seams are hand finished. Hand finished throughout. Made to couture standards. It appears to have never been worn or worn very little.

Top
Shoulders: 14"
Bust: 18" flat across from side seam to side seam
Waist: 16.5" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 24.5" from neck to hem

Pants
Waist: 14" flat across from side seam to side seam
Hips: open
Length: 41" from waist to hem
Inseam: 29"

Modern Sizing Equivalent: SMl-MED

Item# DD3654

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

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

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

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

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

Modern Sizing equivalent: SML-MED

Item# DD1904

Reference Photo: Vogue, September 1984.

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

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

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

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

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

Modern Sizing Equivalent: XS-MED

Item# DD3115

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

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

This coat would have been designed while Youssef Rizkallah headed the company. Youseef joined the Malcolm Starr label in 1969 and remained as the head designer until 1975. The years that Youssef headed the line are among some of my favorites and in particular his pieces that utilize quilting and patchwork are truly iconic. Rizkallah was born in Egypt and studied at the Ecole de dessin appliqué and the Ecole des arts decoratifs in Paris. His designs seem to combine that sense of couture lines that he gained in Paris with the color and vividness of his homeland.

This is a wonderful piece that can be worn as either a coat or a dress thanks to the zip front that completely opens. It has the added provenance of being the twin to the one featured in the ad campaign for 1970. The base of the coat is a black fabric that feels like a light wool that has a slight ribbed texture in it. The entire coat is detailed with a combination of a red braiding and red ric rac that follows the lines of the coat to emphasize the pattern and cut. Elaborate designs run over the body of the piece and all around the hem. Pops of a white cotton are used to  create even more drama. A floral patchwork is set into all of this on big curving and angular cuts. This anchor all the various parts of the design and give a pop of contrast to the the starkness of the red, black and white colour combination. The collar has a beautifully curved cut out to it and it flares out dramatically at the bottom. The sleeves are deliberately kept simple so that all you see is that spectacular design through the body of the coat. It is so dramatic and like wearing art. I love it. Excellent condition

Fully lined in a hand set red silk and closes down the front with an unpainted silver zipper. It appears to have been worn very little if at all. Tagged a vintage 8

Sleeves: 22"
Slightly dropped shoulders: 16.5"
Bust: 17" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Hips: open
Length: 44" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# C536

Reference Photo: "The Malcolm Starr All Starrs" Ad, 1970.

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 would have originally been a lingerie piece and meant to be worn under another dress. But in our modern world you could easily wear this out as a super sexy dress. What makes it possible for the dress to be worn outside of your house is the lining that they used. It is a lingerie weight opaque nude stretch jersey that sits under the top layer of black machine lace. There are built in cups that have under-wiring and the front laces up from the waist to the curving centre of the bodice. On each side of the top there is a panel of stretch netting that has a touch of transparency to it. The skirt falls in a simple pencil like shape with just a touch of volume created by the way it is set into the top part. It is super easy to wear and finding vintage lingerie that you could potentially wear as a dress is hard to do so it is a great find. Overall great condition with a couple of small notes below.  

Fully lined in nude stretch jersey and the cups have under wiring as described above. It closes with a side zipper. I see a couple of small repairs on the netting that runs on either side of the bust and a small repair in the lace at the front that you see more from the interior then the exterior. A small repair to the interior lining (not photoed). Please see the last three photos. There is a little give on the waist and bust measurements due to the lace front 

Bust: to 16" flat across from side seam to side seam
Waist: to 12" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 43" from top of shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# D627

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3081

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

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

Zandra Rhodes is one of my favorite designers and it is always a treat to have one of her pieces for you. The print on this one is done in a metallic silver paint and I love the subtle rhinestone detailing on it. It is a very pretty piece and the colour absolutely pops in person. 

This is a very wearable dress that can be worn for day or evening and has a lot of options on how you can choose to wear it. The versatility comes from it still having its original wrapped fabric belt and a matching scarf. This gives you the ability to add shape or wear it loose and easy. You can switch out the belt for the scarf for a softer look or you can use the scarf as a shawl or as a head wrap. You could even tie it into a turban to get a very seventies feel. The fabric is her signature hand painted silk chiffon and is the prettiest blue bright clear ever with a print that combines a navy matte navy and a metallic silver paint. This top layer lies over a blue silk interior that feels wonderful when on the body. The dress has a loose and easy cut through the body to create a floating feel around you. This gives the dress a lot of movement. It is cut to skim over the bodice and then flows to an open and easy waist and then the skirt flares out. Without the belt it has an almost caftan feel to it and with the belt you can cinch it in to add as much shape as you want. The bodice has just a touch of detailing to highlight the print with hand applied sequin paillettes and beads at the front and a rhinestone trim around the edges. The sleeves are left unlined and are light and airy feeling with a ruffled effect finished edges. It comes with a matching extra long sash and a fabric belt. It is lovely. Excellent condition

The dress is fully lined in a blue silk through the body and a nude inner lining in the sleeves. It closes with a back zipper. The bead and sequin work detailing are hand applied. Comes with a long wide scarf and and a matching belt that is shaped like a cummerbund with light stiffening in the middle part of it. This dress may have been a custom order as it came from the same lady who custom ordered several of Zandra's pieces. It looks to have been worn very little if at all. I see two missing beads at the front and some of the tiny black beads above the rhinestone at the neck are missing. Very minor

Inset shoulders: 12"
Bust: 17" flat across the back from side seam to side seam
Waist: 15" flat across the back from side seam to side seam
Hips: to 19" flat across the back from side seam to side seam
Length: 55" from shoulder to hem
Sash: 5.5" at widest point x 80" long end to end
Scarf: 25" at widest point x 106" long end to end

Modern Sizing Equivalent: SML-MED

Item# DD3651

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3649

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

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

Howard Greer started his career working for the famed Lucile. He then served int he war and upon his return in 1921 got a job in Hollywood. By 1925 he was the head of the wardrobe department of the studio that we now know of as Paramount. In 1927 he opened a couture salon patterned after Lucile and his time there. He was the first costume designer to open his own couture house. His pieces took weeks to complete and required numerous fittings. They were also exorbitantly priced. In 1946 he began a ready-to-wear line that incorporated hand finishes making them alongside the couture pieces. He shuttered the label in 1962. This is an earlier example of his couture work and it is exceptionally beautiful. 

It is rare to see a dress from this period as pretty and romantic as this one. It has that Old Hollywood glamour feel and it is easy to imagine that it could have been made for a Hollywood starlet. The bodice has shaped cups and wide straps that curve up and around the neck from the outside edges of the bust line. The top is curved in a sweetheart shape and then it skims over the body, past the waist and ends just at the top of the hips. The upper back is left bare. I also photoed it laying flat so that you can see the cut when it closes completely since it would not close on my dress form. The bodice has been entirely covered with hand done bead work. Silver glass tube beads cover every inch and have been densely spaced into curving rows. They catch the light wonderfully when you move. The skirt is divine. It is made up of three full tiers of silk tulle that has been stacked on top of each other with definitive edges. At first glance you would think that the effect the tiers have were achieved by using multiple layers of tulle over each other for each tier, but they are actually one single layer of tulle each. The netting that he used is so soft and so fine that he just has gathered it so that it has the volume that you see on each tier. This is a testament to the quality of the fabric found in this time period because I can honestly say that I have not encountered a finer, softer silk tulle. The edges of each tier have been left raw and this gives the dress a slightly deconstructed feel that adds to its beauty. It has this decadent feel to it that only a piece that is of this age and this well made has. This could also be a spectacular wedding piece for the bride looking to wear vintage. It is absolutely stunning in person. Excellent antique condition with some small notes below.

The skirt is fully lined with a cream silk and the bodice is unlined. Light interior boning on the bodice. You can see all the hand work on the back of the bodice. It may have been lined at some point. It closes with a back painted metal zipper and the halter slips over the head. It was folded and sewn to shorten the strap lengths at some point in its history. I see one tiny area of missing beads on the bodice and some loose beads here and there. Please see the photo after the label shot. The bead work is entirely done by hand. Hand work throughout. It's wearable as is but if you want to wear it for an event where you have it on for hours you might want to get to lined for extra re-inforcement. Note that is was photoed on a size 2-4 dress form and it would not close. Best suited for a 0-2

Bust: 15.5" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Seam at the hips: 16" flat across from side seam to side seam at the bottom of the bead work bodice
Bodice: 23" from top of neck to seam at the bottom
Skirt: 39" from the seam at the bottom of the bodice to hem

Modern Sizing Equivalent: XXS-XS

Item# E590

Note that antique and twenties pieces are final sale. They will be packed exceedingly well and we only sell pieces that will stand up to the stress of shipping, however, having pieces potentially shipped multiple times through multiple customs and countries is too hard on garments that are historically important and deserve to be treated with love and care. Please purchase accordingly.

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

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

I love the coral and rust print that completely covers this amazing jumpsuit. It is very detailed and adds its own layer of interest to the silk. The silk chiffon fabric that he chose to use is very fine and light so that once it is on it feels like it weighs next to nothing. This creates a sense of lightness and airiness to the piece as it moves beautifully around you. Silk chiffon of this weight is notoriously hard to work with and the fact that he has structured this so beautifully is a testament to his skills as a designer. The top is cut with a simple scoop neckline at the front and the bodice skims lightly over you to the waist. The sleeves are cut long and each ends in a double ruffle of silk that has tremendous movement. The waist is seamed and you could add a belt to create even more shape or wear it loose and easy. The pants on this are truly amazing. Each pant leg is cut to be extra wide and full so that if you are standing still it appears that you are wearing a skirt. When you move you realize that they are pants and that each is wrapped around the leg and the edges where they meet is left open so that there is a slit almost to the top of the thigh. They only open as you move or sit. They are incredibly light in weight so you get this amazing billowing effect when you move. The pants are finished with a second layer of silk chiffon inside that is done on a solid red colour. So when you move the red flashes and it is fantastic. The cuffs on each sleeve are finished in the same way. It is fabulous. Excellent condition.

Fully lined in a red silk chiffon throughout. The top part of the jumpsuit buttons to close at the back and then zippers to close below the waist. Hand rolled and hand finished seams and edges. It appears to have never been worn or worn very little. Also after photoing this I feel like perhaps the buttons could also be worn at the front. I think you can wear it either way which makes it that much more versatile.

Sleeves: 26.5"
Shoulders: 16"
Bust: 20.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 19.5" from neck to waist
Skirt: 44" from waist to hem
Inseam: 36"

Modern Sizing Equivalent: SML-MED

Item# DD2759

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

Nettie Rosenstein was based out of New York City. She started a small home based dressmaking business in 1913 after getting married to Saul Rosenstein, who manufactured and made women's underwear. By 1919 her pieces were in such high demand that I. Magnin asked her to start selling to them. By 1921 her business had a workforce of 50 and she was on her way. In the early days her work was sold only under the department store labels and it was only word of mouth that the work was actually hers. By 1937 Life Magazine called her one of the most important American Designers. By 1940 she was in 92 shops across America and her dress cost up to $500 (just over $9000 in modern dollars). Her work was widely copied and she was particularly known for her 'little black dresses'. She designed until 1961. 

This is an incredible dress and it is gorgeous. It is made out of a black silk taffeta that holds the shape of the dress wonderfully. The skirt is very full and it is very flattering on the body. The volume that you see in the photos has been created by the way that the skirt is cut and set into the waist with beautiful wide pleats of fabric. There are tulle layers under the skirt but I did not add any extra crinolines. You could add more if you wanted an even fuller look. The bodice is fitted and the waist nips in. At the waist there is a large wide silk taffeta belt that cinches you in even more. Just the way the silk slides through the buckle is a detail in itself. The neckline is very unusual. The black part of it is draped across the neckline to sit off of the shoulder and leave your collarbones bare. This is then lined with a pretty sky blue silk taffeta. Inside the upper part of the dress, that straps that curve over each shoulder are done in that same sky blue silk. They are set so that they sit wide on the shoulders. The two fabric create a little gap between themselves. The closer you are to the person wearing it the more you see the blue.  It is just wonderful. I love when silk taffeta is used for these cocktail dresses from this era. It adds the weight needed to hold the shape and fullness but keeps them light and easy to wear. The dress is very pretty and romantic. Excellent condition with one tiny note below. 

Unlined and closes with a back painted metal zipper. There are two layers of tulle inside the skirt. The belt closes with a slip buckle. Hand finished interior seam as per the detail shot I have included here. There are tiny pin marks on one shoulder where the owner must have worn a pin. Please see the photo after the label shot. It otherwise looks to have been worn very little. 

Bust: to 17.5 " flat across from side seam to side seam
Waist: 12.25" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of bodice to waist
Skirt: 29" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3642

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

Many people do not know that Emanuel Ungaro took a position with Balenciaga in 1958 and in 1960 he became the chief designer of the house, staying there until 1964 before he briefly went on to Courreges before opening his own couture atelier in 1965. The Ungaro label has fallen from its former glory of the sixties through to the eighties, but in its heyday, the label was a force in the world of Haute Couture.

This dress is a wonderful example of the range that Ungaro had. He had a brilliant way of using of print and colour that he combined with soft fluid tailoring. This gorgeous little day dress is simple in cut but it is gorgeous once on an actual body. These little day dresses are often underrated when it comes to Haute Couture but they should not be. They are beautifully made and the quality is beyond anything you will find in modern RTW. The dress is made out of a fine high end silk that has a lattice and floral print covering its surface. Pastel peaches and taupes cover a white backdrop for a pretty and refined feel. I love the very full balloon cut sleeves. Each billows out above the cuffed wrists and takes the dress a step up from the classic day dress. The neckline is high and yoked across the shoulders with soft gathers. It skims over the bust and then a silk tie runs around and through the waist. This allows you to wear the dress with a loose and easy shift dress feel or you can cinch it in for added shape. The skirt has two little slant pockets that sit on each hip. The fabric is very light in weight and backed in a fine silk. It is made by hand to Haute Couture standards and is even better in person and on an actual body. Excellent condition with one small note below

Fully lined in a hand set silk of very high quality. It closes with a hand set, painted metal zipper and hook and eye at the back. Each cuff has a fine hand set zipper and hook & eye. The belt is partially attached and snaps into place to close. There is a small amount of shattering under each arm of the inner lining. It appears to be stable and does not affect the exterior. Please see the shot after the label shot. Done by hand to Haute Couture standards. Proper Haute Couture label present and the tape is numbered under label #H205-5-74

Sleeves: 25" approx.
Shoulders: no defined seam
Bust: to 20" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Bodice: 14.5" from shoulder to waist
Skirt: 28" from waist to hem

Modern Sizing Equivalent: SML-MED

Item#DD2522

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. Just three years later in 1954 he won both the 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. His ready-to-wear was made to couture standards and with a level of craftsmanship that was on par with the French couturiers. Galanos was a master cutter and draper and he used many couture techniques in the construction of his dresses and gowns. Grace Kelly was an early fan. His work is held in all of the major museums around the world and he is one of my personal favourite designers. 

Here we have a piece that dates to the late 1970s or early 1980s. It is absolutely gorgeous and as good as it looks in the photos, it is even better in person. The texture and quality of the fabric is remarkable. The skirt is cut to be one long and lean line. It has a high 19" side slit that allows for a good amount of leg to show and for you to be able to walk. The cut is curved and fitted. The fabric is very unusual. It it is a black silk jersey that has a puffed 3-dimensional quality to it. This unusual finish has been created by hand stitching the top layer into the bottom layer to  create the puffed pattern that you see. This extra volume adds incredible texture to the dress and it contrasts perfectly with the pleated bodice. There the fabric has been seamed with teeny little pleats that are all set on a curve. These are then hand gathered and placed over the inner corseting so that the bodice wraps and curves around you. He then inset a curved panel of black lace into the bodice. The lace is not backed with a lining so that it is transparent and allows your skin to peek through. This curved bit of lace begins just off centre between the breasts, curves under the bust, around your waist and then runs halfway down the low back to expose a sliver of the waist and hip. It is very sexy. Two skinny straps extend out from either side of the lace at the top and curve up and over the shoulder. It appears to have been worn very little it at all. Excellent condition

Fully lined in a black and metallic stretch silk jersey through the bodice and it is lightly boned and formed. The fabric of the skirt is self-lined and the interior seams ribbon and piped finished. It closes with a side zipper. All hand work inside.

Bust: to 17" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 59" from top of straps to hem

Modern Sizing Equivalent: SML-MED

Item# DD2510

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

As a collector it is always nice to have museum validation to know that you are buying an important and relevant piece. For this Pierre Cardin short set I found similar examples that share the same grommet detailing that are held in the Goldstein Museum of Design. I have only seen one other short set like this many years ago and it was in a darker colour. I think that the bright yellow colour of the two pieces make it even more fabulous and collectible. It is a fantastically fun piece to wear.

There are two pieces to this set. The top is cut into a sleeveless tunic and then there is a pair of shorts that are worn underneath the tunic. Both pieces are made out of a textured linen and silk that give is the perfect summer feel. The colour is extraordinary. It is a bright sunny yellow that you cannot miss. The shorts are simple in cut with sleek flat front and easy fit. They simply slip on and zip up the back. They are cut straight and full. Over this goes the tunic and it also slips on and zippers up the back. It is cut to sit loose on the body with just a suggestion of shape through the waist. The neckline is notched at the front and it sits quite low. Huge gold coloured grommets are set all the way around the collar and down each side of the front opening. Each of the grommets has an open centre so that you get a dot of bare skin showing through. A second high notched slit runs up the centre seam from the bottom of the tunic hem. The two slits balance each other out nicely. On each hip there is a big oversized top set pocket that give the set that classic Cardin feel. It's the perfect finish to this spectacular set. Excellent condition with a minor note below.

Both pieces are fully lined in a yellow silk. Each closes at the back with a painted metal zipper. The grommets have mottled as they aged. This patina is a natural occurrence of this age. Please see the photo after the label shot. The colour is a bit more saturated in person. 

Tunic
Bust: 19" flat across from side seam to side seam
Waist: 17.5" flat across from side seam to side 
Hips: 20" flat across from side seam to side seam
Length: 28.5" from neck to hem

Shorts
Waist: 13.5" flat across from side seam to side seam
Hips: 20.5" flat across from side seam to side seam
Length: 13" from waist to inner seam
Length: 15" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD2896

Reference Photos: Pierre Cardin 1958-1962 Dress with Belt & c1960s Pantsuit - both from the Goldstein Museum of Design.  /  1960s Pierre Cardin (credit unknown)

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

This is a gorgeous twenties flapper coat that is not 100% perfect but too dreamy to not give it a second life. It is made out of a beautiful caramel wool that is soft and light. This is accented with light taupe collar this is finished in what looks like a faux broadtail. The coat has a beautiful drape and ease. It falls to just past the knees and has a loose and easy cut so can be thrown on over just about anything. The upper portion of the coat has soft rounded shoulders and these curve gracefully into the sleeves. Each sleeve is quite special with a huge turned up cuff that ends in two angled points. More detail is added to the cuffs with four lovely curving scalloped designs that run up the length of each cuff. These same scalloped edges are used along the seams of the front and at the back. The collar is equally special with a wide soft cut that sits up a bit from the shoulders and at the back it angles down into a point. The button to close it at the front is a large hand carved bakelite button. I love the folds of fabric under the button that fall to look like a ribbon to the hem. At some point someone has removed the entire interior lining and the seams have bits of that and the ribbon that secured it here and there. I see a small repair that is hidden when you close the coat. It is so lovely that I feel that these things that you don't see when it is one are entirely forgivable. Excellent condition other then the items noted. Please read the full description below

The lining has been removed and you can see parts of it here and there at the edges. It closes with the button at the front. I see a repair to the wool on the front under where it crosses over. This is hidden when the coat is closed. There is a residue under on arm at the seam that shows through and a repair on the loop that closes the coat. Please see the last three photos. Sold as found. The loose and open cut will fit a range of sizes. For its age it is still sound and wearable.

Sleeves: 23" from the slightly drop shoulder
Shoulders: 15"
Bust: 20" flat across from inner side seam to side seam
Waist: 19" flat across from inner side seam to side seam
Hips: 20" flat across from inner side seam to side seam
Length: 40" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# C566

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

Note that antique and twenties pieces are final sale. They will be packed exceedingly well and we only sell pieces that will stand up to the stress of shipping, however, having pieces potentially shipped multiple times through multiple customs and countries is too hard on garments that are historically important and deserve to be treated with love and care. Please purchase accordingly.

This is an exceptional twenties flapper coat that is made of a beautiful and fine deep brown wool and is accented with a thick and curly sheepskin at the collar, cuffs and the hem. I love that is almost is a play on gender as it has a touch of the feel of what men were wearing in this time period but at the same time still feels decidedly female. It falls to just past the knees and has a loose and easy cut so can be thrown on over just about anything. The upper portion of the coat has soft rounded shoulders and these curve gracefully into the sleeves. Each sleeve is spectacular with long and extensive sheepskin cuffs. The cuffs circle the lower portion of the sleeve and then trail up and around the back of the elbow. The collar is equally as special and is exaggerated in size. It extends well out past the shoulders  and curves around the back. It then dips down to the waist with a touch of a men's evening coat feel to it. Another panel of sheepskin was added all around the hem in a very wide panel. I love how the top of the bottom panel is finished with a soft curving scalloped edge. Just above that are topstitched pin tuck seams that follow the scalloping of the sheepskin. These are done in stacked row and are set all the way around the lower part of the coat. More top stitched seams are done under the back collar even though most are hidden. The inside of the coat has been lined with a matching silk satin with a striped texture to it much like men's suiting. It closes low and to one side with a huge carved bakelite button. I love the wide and easy swing cut through the body. Excellent condition with notes below

Fully lined in a matching brown silk. It closes with the button at the front and silk ribbons inside that snap around a loop. One tiny hidden pocket along the inner seam of the opening. The loose and open cut should fit a range of sizes. There is some wear and loss of silk under the interior of each arm and around the collar. For its age I still rate this as excellent. 

Sleeves: 23" from the slightly drop shoulder
Shoulders: 15"
Bust-hips: 19" flat across from inner side seam to side seam
Length: 39" from neck to hem

Modern Sizing Equivalent: XS-Med

Item# C567

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.

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 to it and he was crowned Designer of the Year in 1970. Much of his work verged on couture and he was unrelenting in striving for perfection. Every piece I bring into the shop is very special and I love this one especially as it truly shows the range of his work. This set is a little extra special because its twin resides in the permanent collection of the Victoria & Albert Museum. 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 on person. The dress is amazing all on its own even without the jacket that goes over it. It has an empire cut with a halter style bodice. It is suspended from the shoulders by two tiny straps. The fabric that the dress is made out of is a fine ivory netting with a lace pattern worked through it made up of a gold metallic thread. This runs over the entire dress from the top of the shoulders to the hem. The gold that makes up the pattern is denser as it nears the hem and really catches the light and makes the entire dress take on a golden tone and shimmer in the light. The skirting of the dress has been meticulously pleated into tiny little micro pleats. The combination of those tiny pleats and the gold is incredibly beautiful and delicate in feel. It has a lining of the palest pink silk that 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 long sleeves and is made out of a pale pink silk chiffon 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 right up to the waist line of the dress. Having these sit open along the seams like this allows the fabric of the dress to show underneath when you move. The chiffon that he used to make the jacket is a soft dusty pink silk. The embroidery work at the top of the jacket is done in a combination of soft corals, mint and ivory. The tiniest little seed pearls detail parts of the embroidery. All of the edges of the outer jacket are finished with gold lace. It is just stunning. This is a rare and absolutely amazing piece that is even better in person. It would even be a beautiful choice for a bride who is looking for an alternative to the traditional wedding gown. Excellent condition with one tiny note below.

The dress is fully lined in a pale pink 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. Note that it was a bit tiny on my dress form and will fall even better on the proper sized girl. Museum quality and appears to have never been worn, or worn very little. There is one small storage spot on the front panel of the chiffon jacket near the lower edge that is shown on the photo after the label shot. The colors in person are softer and more of a true gold and very soft dusty pink.

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 Photos: (1) Tree Allen in Bill Gibb by Barry Lategan, 1977.  /  (2) 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.

Pauline Trigere launched her label in 1942. She moved to the US from Paris in 1937 and I feel like her designs always retained that bit of a French feel to them. By 1949 she had been awarded a Coty and went on to win two more in 1951 and 1959. The 1959 win coincided with being inducted into the Coty Fashion Hall of Fame. She was a pioneer in the use of cottons and wool for evening. In 1961 she made headlines for being the first major fashion house to use an African American model. This is a lovely dress by her from the early 1970s. 

This gorgeous dress has a rope print that covers its surface and plays on the black and white contrast that you see on the dress. The bodice is made out of a semi-sheer silk that has a ribbon effect running through. Under that is a built in white lining and the silk floating over this gives it a bit of added depth. The skirt is made out of the the same silk but the parts between the ribbon finish are more opaque so it feels as if it is a heavier weighted silk even though it is not. This fabric choice gives the dress a wonderful lightness and ease once it is on the body. The top is cut to sit loosely over the bust. There are small gathers along the shoulders for a little bit of detailing and the neckline is set square and wide across. I think you could easily wear the sleeves off the shoulder if you wished. The sleeves are wide and full. They are cut to billow above the elastic cuffs. The waist is seamed and below that the skirt falls in a cascade of fabric to the floor that widens out just touch as it nears the hem. I love the two big pleats set on either side of the skirt that add a touch of volume there. This is a dress that will transform once on an actual body. You could also wear a belt to add more shaping through the waist. Excellent condition with one small note to review below

Both pieces are lined with a semi-sheer silk. White for the top and black for the skirt. The sleeves are unlined and attached at the top of the shoulder only with elastic on their tops. It closes with a metal and nylon zipper at the back. Elastic finishes each sleeve. There is the teeniest of discolouration to the fabric at the small of the back. Please see the last photo after the shot of the label. In person this areas is actually lighter then how it photoed

Sleeves: 19"
Shoulders: no true seam
Bust: to 19" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Bodice: 16" from shoulder to waist
Skirt: 41" from waist to hem with 4" turned under the hem

Modern Sizing Equivalent: SML-MED

Item# DD3434

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

I think our modern world forgets just how important Oleg Cassini was as a designer in his heyday. From his first film in 1941 he was responsible for many of the best looks on film, dressing stars like Rita Hayworth, Gene Tierney (who he married), Audrey Hepburn, Marilyn Monroe, Lana Turner and the list goes on and on. In 1952, he opened his own fashion house on Seventh Avenue. By 1961 he was appointed by Jacqueline Kennedy as her exclusive couturier. Some of his early works especially, were more on par with couture, using the same techniques and high fashion fabrics as the French couture houses. This is a later example of his work and yet it still shows the care and meticulous detailing that he put into his work.

The dress is amazing in person. It is made of a black silk chiffon that has been extensively covered with gunmetal silver glass tube beads. The dress is extremely heavy because of the bead work. It weights about 4 pounds and it is gorgeous. The bodice of the dress is suspended by beaded straps and then scoops down with shaping at the front and a lower set line at the back. It has a wide band of beadwork following the top seam and then is shaped by a series of vertically set rows of beads that go all the way around the bodice and end in little jagged ends. It is fitted to the bodice and then nips it in at the waist. The skirt skims over the hips into a pencil shape and then onto that are curved vertical panels that start just under the waist and go to just above the hem. These give the illusion that the skirt is tiered but that ruffled effect is actually created by the panels dropping and layering over each other. I did a photo of it laid out flat so you can get an idea of how much volume is actually in the skirt. When you move the movement this creates is fantastic. Each is finished along the curved edge with a series of stacked rows of beadwork. More vertical bead circle the hips and these are done to pick up that same jagged finish design as on the bodice. The hem is then finished with a wide band of yet more beading. Excellent condition

Fully lined in a black muslin through the bodice and black silk through the skirt. It closes with a back zipper. Hand work throughout. Light boning in the bodice. It looks to have never been worn. Perhaps the occasional bead missing but no bare areas that I could see. 

Bust: 16" flat across from side seam to side seam
Waist: 11.5-12" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 42" from shoulder to hem

Modern Sizing Equivalent: XXS-XS

Item# DD3629

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

Yves play on the tuxedo and 'Le Smoking' suit is one of his most famous hallmarks. He first presented the now famous suit in 1966. His play on traditional menswear is lauded by many as 'having empowered women by giving them the option to wear clothes that were normally worn by men with influence and power'. This is a stunning example from the Rive Gauche collection of 1992. It was captured on Beverly Peele backstage at the show and you can see in that photo how stunning this is on.

This one has a full length skirt in a rich silk that beautifully balances the cut of the jacket. Yves did variations of this suit every season for both his Couture and Rive Gauche presentations and mixed the play on a men's tuxedo jacket with skirts and pants of varying lengths and cuts. They were shaped and tweaked by Yves to be immensely flattering on the female body. I love this more formal full length skirt version and the fact that you can mix and match the pieces. That combined with the sequins on the jacket make the suit feel so bold and yet still elegant and refined in feel. The jacket is tailored with a sleek cut that follows the curves of the body. It has his signature matte satin tuxedo collar. Yves produced many versions of this suit over the years but what I find remarkable is that each version is distinct in how it closes at the front and the way that the collar is shaped. This one has one over-sized faceted and glossy jet button below that amazing collar. Two flap pockets are top set on the hips and the shoulders are sharp and perfectly padded. The entire jacket except for the collar was then covered in a dense application of glossy black sequins. This catches the light and is fabulous in person. The skirt is cut in a long column of the same silk used for the collar of the jacket. It falls to the floor in a long and lean line and there are pockets hidden on each hip. His suits change the way we approach woman's wear and any example of the Le Smoking version is collectible. They are a particularly wonderful example of how strong his tailoring was and vision for a woman's place in the world. This is an important piece of fashion history. Excellent condition

Both pieces are lined in a black silk. The jacket has a single button at the front to close. The skirt has a zipper and hook & eye at the waist with pockets on each hip. Two pockets on the jacket that still have most of their original tacking to keep them closed. Padding in each shoulder It looks to have been worn very little if at all. The jacket is tagged a 36 and the skirt has no size tag present.

Jacket
Sleeves: 24"
Padded shoulders: 16"
Bust: to 18" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Length: 23" from neck to hem at the front, 22 at the back

Skirt
Waist: 12.5" flat across from side seam to side seam
Hips: open
Length: 43.5" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3624

Reference Photo: Beverly Peele wearing Yves Saint Laurent. Photo by Roxanne Lowit, 1992. (As seen in the book "Roxanne Lowit Photographs Yves Saint Laurent".

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 more recent dress by Valentino and we found one that gave us the original price of $5690USD. This one looks to have never been worn and is just waiting for its new bride. The dress is a simple and elegant silhouette. It is done in an ivory silk that has a slight stretch to it that makes it very comfortable to wear. The dress is strapless and has seams that run horizontally across the dress for a subtle detailing. These also help to hold and shape the dress to your form. It falls from the strapless top, hugging the body to just past the hips, and then flares out to the skirt that swoops around you and then trains out at the back. It has a wonderfully minimalist feel that is broken by a large flat bow placed at the small of the back. This is the only added detailing other then the horizontal rows that wrap around the bodice. It is remarkably elegant and sophisticated while still being kept simple. It has all its original tags and was never worn. Excellent condition with one minor note below 

Fully lined in an ivory silk and closes with a hidden set side zipper. It has a built in binesed netted corset that closes with its own zipper. There is one tiny smudge of a mark on the bodice. The colour in person is a bit softer then how it photoed. The best colour is on the shot that shows the original hang tags still attached to the dress. Tagged a modern Valentino size 2. It is best suited for a size 0-2 

Bust: to 15.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 55" from top of bodice to front hem, 70" to the back hem

Modern Sizing Equivalent: XXS-XS

Item# DD3617

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

This is an incredible dress that would be from when Marc Bohan was head of the Dior atelier before he retired in 1989. It is a beautiful example of the work being produced by Christian Dior in this time period. In the book Dior; Catwalk, the notes on the fall collection state that the collection was placed 'under the sign of opposites' and that he had looked to the work of Abstract Expressionist painter Jackson Pollock for inspiration. Pieces were adorned in drip embroidery and motifs and then he did a series of long sheath dresses that were 'accessorized with 'Pollock jewels" in jet and multi colour stones'. In the book there is a photo of a long velvet dress with a jacket over it and I wonder if that is a glimpse of the back of the twin of this one. This may have been one of the simple 'sheath like pieces' that were shown with jewels rather then the embroidery you see on the other dresses in the photo. The dress is a true Haute Couture piece and has the appropriate numbered label intact.

The dress is made out of a soft textured silk velvet in a jet black. Using a velvet that has this added texture to it is an incredible choice as the dress catches the light in different ways as you move and it really makes it come to life. The cut is simple and sleek with a low front neckline that dips from an angle created over each shoulder. It slightly curves down to the centre and then the fabric is softly gathered down the centre to the waist. This leaves it with a  slightly bloused over feel over the the nipped in waist. The sleeves are cut long and they slim down as they reach the wrists. There is a slight volume built in at the outer part of each shoulder. On the inside I see hand made silk cases that at one time had light padding in them but the padding has been removed at some point to give it a softer shape. You could easily have some padding put back in if you wanted a stronger shoulder.  Inside the bodice is a more fitted and boned inner silk corseted piece that holds you in place while the silk velvet simply drapes softly over that outside. The skirt is cut to feel sleek and simple and falls to the floor with just a touch of gentle widening as it reaches the hem. A vent runs up the back so that you can walk. It is a beautiful and dramatic piece despite its simple lines. It is meant to be slightly more voluminous through the top and then slimmer through the skirt as was the fashion at the time. Excellent condition with a very minor note below.

Fully interlined in a fine black silk satin and then has a built in bodice made of black silk. The inner bodice is boned and closes with its own zipper as photoed. The exterior dress closes with a back painted metal zipper. Each sleeve has a zipper at the cuff. Appropriate numbered tag present with couture number 19469. Silk hand made pads that have no padding inside each shoulder as described above. Slight damage to the silk on either side of the zipper on the inner corset. Please see the photo after the label shot. 

Sleeves: 23"
Soft shoulders: to 16.5"
Inner bust: to 18" flat across from side seam to side seam with room for up to a B cup
Inner waist: 12.5" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Bodice: 13.5" from shoulder to waist
Length: 45" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3611

Reference Photo: F/W 1984 Christian Dior Couture Runway Collection as shown in the book 'Dior; Catwalk'.

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

This was originally $945USD and this one looks like it was never used. I love its orange floral print and large size. The leather that the flowers have been printed on is slightly textured and gives the clutch a bit of a vintage feel. It zips all the way around with gold toned two-way zipper hardware and then opens to a large interior pocket with a black woven lining, a single slit pocket. Numbered and stamped interior tag. It is pristine and has its original hang tags tucked into a pocket. 

13.5"W x 9.25"H x .5"D

Item# A386

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

Zandra Rhodes is one of my favourite designers and I love the pieces that she did in the 1980s. This dress is closest  to the work she did for her 'Fairy' collection that was done for the Spring 1981 season. The collection has a strong showing of these black and gold pieces that featured her amazing custom hand painted prints. 

This is a stunning dress that is done in a dramatic combination of black and gold. The skirt is hand painted and the lace on the top has been selected to match and compliment the skirt's design. The bodice is made of a black lace netting that has gold metallic thread woven through to highlight the design in the fabric. The neckline is squared off and I love how the edges of the lace follow the pattern across the neck and back to soften the straight line there. The sleeves are set into that and curve over the shoulders and then run down the arm to just past the elbow. They are unlined so you get glimpses of skin through them. The top curves down past the waist and flares out over the top of the hips. The skirt is set under that and is very full, widening out as it nears the hem. The skirt is constructed in layers. The very outer top layer is a silk organza and then there are layers of tulle with a third inner black silky rayon lining under that. These built in layers are what gives it the fullness that you see and I have not added any extra underskirts. The top layer is completely covered with one of Zandra's signature designs. The gold runs over the entire surface and it is all completely hand painted with a beautiful sun pattern. It is gorgeous and, like all of her pieces, it is very special. It appears to have been worn very little if at all. Excellent condition

Fully lined in a black silky rayon and closes with a back hidden set zipper. The skirt is made up of multiple layers of  as described above. It appears to have never been worn or worn very little. Tagged a UK 12, US 10. 

Sleeves: 16"
Shoulders: no true defined seam
Bust: 18.5" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: open
Length: 60" from top of shoulder to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3605

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 coat has no designer label present but is extremely well made and very beautiful. It is cut with soft rounded shoulders and the sleeves are set wide and stop just past the elbows. The body of the coat is cut to sit very full on the body and flares out as it nears the hem. The outside is a bright clear blue and the silk is of a very high quality. Running down the front are three large coiled and braided knots that are made from the same bright silk. These run down the front of the coat under the small neat collar and add beautiful detailing. Within the centre of the braided loops is a little silk splash of brilliant green and it is only when you open the coat that you see that the lining is made out of the same bright green silk. Making that little touch of green on the front a brilliant detail. Even the sleeves are lined in the green so when you lift your arm you get a tiny flash of the green. The coat snaps to close with hidden snaps under the front panel so that when it is on and closed you get a beautiful unbroken line. It is a wonderful piece of unlabeled vintage that is high end piece and gorgeous. Excellent condition. 

Fully lined in a bright green silk and closes at the front with hidden silk covered snaps. It appears to have been worn very little if at all. Hand finished and very well made

Sleeves: 19"
Shoulders: no defined seam
Bust: to 21" flat across from side seam to side seam
Waist-hips:open
Length: 43" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# C557

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 particular dress was one of the standouts of the Fall 2009 Gucci presentation collection. On the runway it was shown as a mini and in Vogue's review of the show it was mentioned specficially; 'With the slicked-back hair, crimson lips, and mirrored shades, it was hard glamour for hard times, with the occasional half glance back at Tom Ford's heyday in a blue fox chubby or a skimpy one-shoulder black jersey dress with a slice of patent in the neck.' And it is indeed a dress that you might think was a Tom Ford at first glance. The shorter version was used in the extensive ad campaign that season as well. When it was sent to the stores they produced it in this longer version as well as the short. This one has its original tags and was never altered so is in its original supermodel length. 

The dress is made out of a silk jersey that has incredible drape and movement. It is cut supermodel length and then some. Even on my tall dress form it went well past and puddled on the floor. This is a dress that is meant to come to life once on the body. You kind of have to look at the runway photos and then imagine the skirt falling all the way to the floor and what an incredible impact that would make. It is cut with a single sleeve that come out wide from the shoulder and waist and then narrows down as it reached the wrist. The neckline is then angled across the front and at the back it dips into a low angled cut that is set quite deep to the side. This leaves the majority of your back exposed and is very sexy. The dress skims over the body from there and falls to the floor. At the back there is a very high slit partially hidden by the overlapping of the fabric and this lines up right under the post of the open back. The neckline is accented by a strip of patent leather that has a holographic finish to it that subtle catches the light in a rainbow of colours. It's fantastic. Still has its original tags attached and has never been worn. Excellent condition 

There is a second layer through the body in the same stretch jersey as the outer layer. It closes with a hidden set side zipper and there is an inner waist stay that hooks to close. The sleeve is a single layer of the fabric and has a button and loop to close. The dress has its original tags and even an extra button for the cuff. Tagged a size 44. The dress has stretch so should fit a range of sizes. 

Sleeve: approx 26"
Bust: is variable as there are no true side seams with how it is cut
Inner elastic waist stay: 13-18" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Length: 69.5" from top of shoulder to hem

Modern Sizing Equivalent: MED-XL

Item# DD3599

Reference Photos: (1) Fall 2009 Gucci Runway. Look 33. Model: Freja Beha Erichsen.  /  (2-6) 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.