Jean Paul Gaultier's career spans decades. His first show was in 1976 and his avant garde designs quickly gained him the reputation of being fashion's 'l'enfant terrible'. His designs mixed cultures with abandon, gender norms were blurred through his pieces and the body was presented encased in ways unimaginable prior to his brilliant vision. In 1997 he entered the sanctified world of Haute Couture and for just over two decades produced stunning work cumulating with his final show for Spring 2020. His pieces of couture rarely come to market and I am very pleased to have this dress that is very well documented and instantly recognizeable. This is the twin of the dress shown for the Fall 2000 Haute Couture presentation entitled 'Paris and its Muses'. I have included the original runway photos for reference here for you. The dress was also photoed for Vanity fair on Doutzen Kroes. Fast forward to 2013 where the twin of this dress was featured in the The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk exhibit. I actually attended the opening of that show in San Francisco and it is surreal to now have the actual dress in hand as I remember swooning over it on display. This dress was obviously a favourite of Jean Paul's because he chose to recreate a version of it for his Fall 2018 Couture collection. That 2018 version was then worn by Rita Ora for the 2018 MTV VMAs. This may have been the only original piece ever produced beyond the piece that was shown in the exhibition. 

The dress is an incredible work of art. It is made from a layer of silk netting that falls over an interior nude coloured lingerie weight stretch silk. This makes it very easy to wear and be comfortable in despite the dramatic feel it has to everyone seeing it. Onto the silk netting at hand made and hand applied tubes of silk with a stiffened netting inside that gives them the 3D dimension that you see. The entire dress would have had to have been careful planned out prior to its creation. Every single word that you see running over its surface would have had to have been laid out and planned for how it would be placed onto the dress before it was even started. Each word would have had to have been figured out as to the degree it would curve over the body and then it would have been all meticulously brought to life. The letters cover the dress from head to toe and the closer you look the more you see the French words 'Cherie',  'Mon Amour', 'Jean Paul Gaultier', 'Paris' and more as the hand written script cascade and curves it way down the length of the dress. It falls from the shoulders in a long swoop that widens out as it nears the hem. I love how the hem is curved and swooped to follow the final words across the bottom. The script and the netting inside the words also helps to keep the shape of the dress that you see in my photos as they act as structure and support. In a way like a crinoline but attached on the outside rather then worn underneath and hidden. The top is sleeveless and the straps are just wide enough to accommodate the lettering that runs over them. The front scoops down and the back dips into a V. The waist is easy and then it flares out dramatically to the hem. It is bias cut so should fit a range of sizes. Inside you can see how all of the seams are finished with proper couture techniques. This is a dress that would have taken hundreds of hours to complete and is literally like wearing an art piece come to life. To have a piece available for purchase is almost as rare as being able to have bought it as a couture client in the first place. Truly one of the most magnificent pieces he has ever created. Excellent condition with some very minor notes below 

Composed of two layers, the inner nude lingerie weight stretch silk and then the netted layer over that. The inner layer closes with a zipper and the outer layer snaps to close with a tightly spaced series of tiny snaps.  The dress looks to have been worn very little if at all. There is some minor stress to the netting around the seam of the armholes. I see a couple of the ends of a word that have popped through the silk a bit and some small tiny snags to the netting here and there. All of these are very minor. Please see the photos after the Couture label. All the work is done by hand to Haute Couture standards. Proper Couture tag present. It appears to have been worn very little if at all. Sourced from the original couture client  

Bust: 15-19" flat across from side seam to side seam
Waist: to 15 " flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 62" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3612

Reference Photos: (1-2) Fall 2000 Jean Paul Gaultier Haute Couture Runway Collection.  /  (3) Doutzen Kroes in Jean Paul Gaultier couture from the 2000 collection for Vanity Fair, 2009.  /  (4-8) Jean Paul Gaultier exhibition at the Grand Palais, 2015.  /  (9) Fall 2018 Jean Paul Gaultier Haute Couture Runway Collection. Look 34.  /  (10-12) Rita Ora in Jean Paul Gaultier at the 2018 MTV VMAs.

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 comes directly from the original couture client and is an exceptional example of Valentino's Haute Couture work that he was doing during the 1980s. Finding pieces from this time period is a rarity and I am very pleased to have this beautiful dress in the shop. I am also pleased to have found several documentations of the dress from that season. The dress is featured in the book "A Grand Italian Epic: Valentino Garavani" by Taschen, which is considered to be one of the definitive volumes on Valentino's work. It was also featured in the March issue of Italian Vogue. That layout was photoed by Steven Klein and the dress was modeled by Monica Gripman. It was also shot on model Brynja Sverris for one of the Valentino campaigns that year. This is one of his most recognizable dresses that he has ever created and you instantly recognize it as being by him the second that you see it. It is an extraordinary and historically important piece of Valentino's couture work. This would also make an exception bridal dress for the non traditional bride or as a secondary dress to change into.

This dress is extraordinary. The lines of it are pure poetry. The front of the dress has been done with a minimalist feel and its entire design is deliberate to give you just a glimpse of what will happen when you turn around. The top overlay is made of a black silk faille and the neckline is high and slightly scooped. It curves and skims over the bust and nips in gently at the waist. The shape that you see is all done with beautiful curving vertical seams so that there is no line to break the sweep of the eye. This then extends into a long panel that lays over the inner skirting. It is cut on one side with more of a curved line, while the other side is set on a slight straigher line that runs up to the the detailing at the back. This slight asymmetrical cut is fascinating and it is done so subtly that at first your eye does not see it. Instead you only see how this allows the underskirt to sweep out slightly more on one side then the other. From under that the skirt flares out and back in a tremendous sweep of fabric. The underskirt is also made out of a heavy silk faille in a creamy ivory with black dots. Many yards of silk have been used its construction and it designed to have massive volume at the back. From every angle of the dress you get these wondrous sweeping views. At the back the black silk is cut into a V and set slightly to one side. Where each side of the front overlay meet, there is a huge ivory silk flower. The lines that lead up and towards the flower are all curving perfection and the way that the black sweeps up to meet the flower is a moment in itself. The flower is huge and sits nestled in the crook of your low back. The interior of the dress is made to couture standards and is as stunning as the exterior. There are attached inner tulles that give the skirt its shape and volume. It is one of the most beautiful dresses I have seen. It is an amazing example of his earlier Haute Couture work. Excellent condition with a couple of minor notes below. 

The dress is lined in a black silk and there are attached underskirts in silk tulle. It closes with an inner zipper that is attached to the underskirt with a second exterior zipper over that. Inner waist stay hooks to close. The panel where the flower is set snaps into place with hand covered silk covered snaps. I see some grubbiness at the hem and on the flower and a repair to one of the tulle underskirts at the back. Near the base of the inner zipper the fabric has come away from the seam. All of these are minor. Please review the photos provided after the label shot. Finished with Haute Couture construction techniques throughout. 

Bust: 17.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Length: 58" from top of shoulder to front hem, 68" to the longest point of the back hem

Modern Sizing Equivalent: SML-MED

Item# DD3604

Reference Photos: (1) Brynja Sverris in S/S 1988 Valentino Haute Couture by Gianpaolo Barbieri.  /  (2-3) Monica Gripman in Valentino Haute Couture for Vogue Italia, March 1988. Photos by Steven Klein.  /  (4-5) S/S 1988 Valentino Haute Couture Dress as shown in the book "A Grand Italian Epic: Valentino Garavani" by Taschen.  /  (6-7) Queen Sofia of Spain in Valentino, meeting Queen Elizabeth, at the Palacio Real de Madrid, in Madrid, for a state banquet in Spain, 18 October 1988.

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

Christian Lacroix launched his Haute Couture house in 1987 and his work was instantly revered world wide. He defined an era and he was crowned the King of Couture. A ready-to-wear line soon followed along with perfumes and menswear. His collections were always exotic and lavish affairs. He drew his inspirations from across the decades and I doubt there was ever a more high glamour couturier. This dress is very special and a stunning example of his work during this time period. It has all the signature Lacroix drama that you could ask for. It comes to me from the original couture client. The twin of this piece walked the runway that season. My client ordered hers in a slightly different shade of silk taffeta and the atelier changed the colour of the stone in the jewelled brooches to match this fabric selection. His couture pieces rarely come to market and this is an exception example of his work. 

The dress is beautiful. It is made out of an iridescent silk taffeta that changes colour slightly depending on how the light hits it. It can go from a deep bronze colour to an iridescent blue tone. Each sleeve is long and slim and cut to end just above the wrist. A row of five silk covered buttons runs up each wrist with working silk loops. The body of the dress is cut into a simple sheath and then it has been gathered up along one side and secured in place with that incredible huge brooch. The brooch is a gold metal circle that has large golden topaz glass crystals mixed with brilliant blue glass stones. The neckline folds over in a curve of fabric and is set very wide across the shoulders, angling down to leave one shoulder bare. The back is tremendously beautiful. That wide neckline from the front dips and angles down at the back to leave a large part of your back exposed. I love how the silk takes on a draped and wrapped effect as it is brought down to the point where the bare expanse of skin ends. Another huge jewelled brooch has then been pinned in place there to anchor the draping. Below that a stiffened panel of silk flares out dramatically to one side in a half bow effect. I have included some shots of the clever way the dress and back close and you can see the meticulous work that has been put into the piece to ensure it drapes perfectly. Excellent condition with a couple of small notes below

Fully lined in a black silk organza and closes with an elaborate mix of a zipper, snaps and hooks at the back. One flaring panel loops through the other. It is in wonderful condition with a few small things to note from normal wear. There is rubber ribboning along the neckline to hold it in place and this has changed colour here and there. There is one stone missing at the bottom of the front brooch. The brooches are removable and you can see little marks on the fabric under them where the pin has been pushed through in different places. There are a couple teeny pinhead marks on the fabric where the brooches have caught on the silk near the brooches. Very minor. It is really in stunning condition. Unlabeled and sourced from the original couture client

Sleeves: 19.5"
Bust: to 18" flat across from side seam to side seam
Waist: to 13.5" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Length: 36" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3602

Reference Photo: Fall/Winter 1990 Christian Lacroix Haute Couture Runway.

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

This dress comes directly from the original couture client and is an exceptional example of Laurent's Haute Couture work that he was doing during this time period. Finding pieces from this time period in such wonderful condition is a rarity and I am very pleased to have this beautiful dress in the shop. I did extensive research on this one and though I found some similar references from a couple of collections that dated to the same time period that my client's mother as shopping at, I was unable to find any photo of this exact dress. There was a similar lace used in both the Fall 1885 and Fall 1986 collections (which historically was a bit avant garge for the time period as lace had not been seen in couture for some time at that point). Similar colour combination were seen in the Fall of 1989 and for the Fall of 1991. The 1991 collection also features a couple of laces that were similar and that clue, combined with the colour usual for that collection and the number on the label makes me feel that it is most likely dates to 1991. This is also in line with the years that she was actively buying couture. She was a good enough client that there is a high possibility that this was a one-off that was made just for her and is the only one like it made. It is very beautiful and made more towards his aesthetic where he made the dresses to be very tailored and structure as opposed to his opposite side when he did pieces that were more along a drape and flow construction. This is a a dress that truly needs an actual body in to to come to life. It is extraordinary 

The bodice of the dress is highly structured and the choice of silk taffeta allows Yves to mold and shape the sleeves and bodice like sculpture. It is cut to be worn completely off the shoulder so that you get that full bare expanse of skin. A wide band of a deep fuchsia pink silk taffeta, that has a touch of a purple undertone to it, runs across the top of the bodice and then extends down to form each sleeve. He has manipulated and gathered the fabric into folds along the entire length of each arm. The remainder of the bodice is also constructed from a silk taffeta but this time in deep burnt copper that has a touch of a metallic glow to its finish. This too is gathered along each side so that there are soft pleats that lay across and around you. I love how the eye gathers feel cohesive from the body to the arms but the colour gives contrast and the gathers are set slightly different so that you have a slight change in how the texture feels. The skirt comes out from the waist and is a very formal feeling skirt that is attached into the waist with soft pleats that open up to allow it to be quite wide by the time it reaches the hem. The underskirt part is a beautiful rich purple. The purple silk is then covered in a layer of black French lace that has a stunning floral design set within medallions. These run over the lace and are repeated throughout to create the beautiful pattern that you see. I love that the bottom edge of the lace follows the curving shape of the design that is in the lace. His finishing touch is done with a wide silk ribbon in a bright green that wraps and ties around the waist. I love this unusual colour combination. You could also easily wear it without the sash or change it for a more structure belt to add more shape. It is very elegant and yet the bare shoulders add a touch of sexiness. I very much love this side of his work where he works within a strong, shaped silhouette and then created a gown to his exact intentions. Excellent condition 

Fully lined through the bodice in a fine black silk satin. There is a built in silk covered elastic that is attached and wired right between the breast for a slight bit of support and then wraps around you and hooks to close. It closes with a side set zipper and has an inner waist stay that hooks to close. There is a series of snaps above the zipper that run under the arm seam so it opens enough to get into it. Each sleeve zips to close at the wrist. The exterior layer of the skirt closes with its own a hand set side zipper. The silk ribbon belt is tacked into place on either side of the waist. On the interior of the skirt at the inner waist the fabric has been folded down and it looks like it would be possible to lengthen the skirt from there by just about 4" but the side skirt zipper would need to be reset if you did that. There is perhaps a touch of dusting on the fabric on the folds under each arm. So minor I am just being crazy picky because it is couture. Done with Haute Couture construction techniques.

Sleeves: 20" from where they start off the shoulder 
Bust: to 16.5" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: open
Length: 54" from top of bodice to hem

Modern Sizing Equivalent: SML-MED

Item# DD3598

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

Isaac Mizrahi presented his first collection through a trunk show at Bergdorf Goodman's in 1987. By 1992 Chanel had bought a stake in the company and Isaac's name was everywhere. He was doing custom work for clients and Hollywood on top of his mainline. In 1995 Isaac was the subject of the movie 'Unzipped' based on his Fall 1994 collection. He is known as much for his personality as he was for his clothing. The Council of Fashion Designers of America (CFDA) recognized him with the Perry Ellis Award (now called the Swarovski Emerging Talent Award) in 1988 and the women's wear designer of the year award in 1989. He loved to experiment and would often change his aesthetics from season to season which was his ultimate downfall. After the fall 1998 show Chanel pulled its stake and the company folded. He attempted a couple of subsequent come back attempts, but for collectors these early years are the most important pieces to find.

My client had this dress custom made for herself and worked one on one with Issac on its design. It is a gorgeous dress and it really feels like its time period with its bit of a nod to Old Hollywood but with the quirky bow at the back. It is made to demi-couture standards. The dress is very long and the lines are simple. The bodice is molded and sculpted into a plunging V at the front and at the back. The fabric on the bodice simply extends into straps and curve over the shoulder. The dress falls from there and all of the seaming to create that wonderful curving shape that you see is created by long vertical seaming. This means that there is no line at the waist to break the beautiful curves the dress created. Even off of the body and on the hanger this one has curves. The fabric that he has chosen is a heavier silk matte satin that holds the shape he meant it to have very well. It is a deep lilac colour that is very beautiful. The photos have come close to capturing the colour but in person is a touch lighter and brighter and even better. At about the knee the lower skirt starts to begin to flare out in an angled and sculpted line. It is set into the body of the dress on an angle at the front and also at the back and this clever seam placement helps to elongate the line of the dress. At the back there is a huge bow that is set on that same angle to follow the seam. I love how it makes a tremendous impact from the back and then even from the front you see it peaking out slightly on either side. The very back of the skirt is cut to a slight point and is a touch longer then the front. All of the shaping you see has been creating by seaming and fabric placement and it really shows just how great he could cut a dress. It is even better in person and once on an actual body it really comes to life as the skirt moves around you. Excellent condition

Fully lined in a matching purple silk and closes with a hidden set back zipper. There is slight scuffing to the very back hem that is very minor. Please see the last photo after the label shot. 

Bust: 17" flat across from side seam to side seam with an approx A-B cup
Waist: 15" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 59.5" from top of shoulder to front hem, 62" to the back

Modern Sizing Equivalent: SML-MED

Item# DD3595

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 dress that was sent to me by my couture client and this one was one that she had custom made for her for to attend an event in 1998. It is made out of a fine silk satin that has a slight sheen to it that goes perfectly with its icy blue tone. The colour is wonderful and in real life has a touch more depth and vibrancy to it. The photos are very close but it is even better in person. The dress is strapless and made to hug the bodice. It is completely boned and shaped inside and then the interior work is finished with a panel of the same fabric so that it is very comfortable to wear. The waist nips in and then the skirts very full and is cut so that the back is longer then the front for a grand, slightly trained, ball gown effect. The way that it is made is extraordinary. The silk has been set in seamed horizontal rows. Two for the bodice and four for the skirt. Within each of the rows the silk has been meticulously folded into wide set angled pleated lines that create a fascinating effect that runs over the entire dress. The skirt has several layers of attached underskirts that give the dress the shape that you see. I did not add any additional crinolines under the dress. The volume is all built in and it is fantastic. There is a spray of bead work done in silver thread and rhinestones at the waist for the perfect pretty finish. This would make an amazing bridal piece for someone not wanting to wear traditional white or as an alternate dress for an extended wedding weekend event. Excellent condition with a minor note below

Fully lined through the nodule and has full boning all the way around. It closes with a back zipper and the inner waist star hooks to close. There are multiple layers of skirting built in. Two silk layers finished with a stiffened label around the hem and then a multi-layer of tule between those. Some grubbiness to the inner hem only that you can see in the last photo here. It does close properly at the back - it was just a touch small on my dress form 

Bust: 16" flat across from side seam to side seam with room to a B cup
Waist: 12.5" flat across from side seam to side seam
Hips: open
Bodice: 10.5" from top of bodice to waist
Skirt: 44.5" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3590

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 comes directly from the original couture client and is in immaculate condition. This is an exceptional example of Valentino's Haute Couture work that he was doing during the 1980s. It is one of a group of dotted red chiffon dresses that Valentino showed on the runway that season. Finding pieces from this time period in such immaculate condition is a rarity and I am very pleased to have this beautiful dress in the shop. I am also pleased to have found runway footage of the group of dresses that he did. The twin of this one was a runway piece and you just get the tiniest glimpse of it on the video I have added here. I have also included a gorgeous shot of Daniela Ghione wearing the dress that year. Style icon Nan Kempner was photoed wearing a different version of the dress which gives you another idea of how fantastic the dress will be on. It is an extraordinary and historically important piece of Valentino's couture work

This dress is divine. The lines of it are beautiful and as good as it looks on the dress form it is perfection on an actual body. The bodice of the dress is fitted and nipped in at the waist. It is cut in a sweetheart neckline that softly curves at the top and is strapless. The bodice is done in an extremely intricate manner. Panels of the silk chiffon have been cut on the biased and then shirred and diagonally crossed over each other to form that complicated pattern that wraps around the entire bodice. The little striped illusion effect that you see in each curving panel is actually the white dot in the silk hat has been meticulously lined up to precision with the one above and below. This painstaking pleating and gathering technique would have taken hours and hours to accomplish. This then forms a shaped bodice that runs down past the waist and molds over the top of the hips. From under that the skirt flares out to the floor and is made up of many yards of the same bias cut red and white dotted silk chiffon. The fabric is feather light so that your slightest movement cause the silk to flow around you. On one hip there are panels of silk that are set to run down that full side to give it an extra burst of volume and movement. The interior of the dress is made to couture standards with a full built in cupped corset that is boned and shaped to just past the waist. From under the bodice the skirt is made up of three full layers of silk; two of the dotted silk and a red silk inner layer. It is one of the most beautiful dresses I have seen and looks to have been worn very little if at all. It is an amazing example of his earlier Haute Couture work. Excellent condition. 

The bodice has a full built in boned corset made that hooks into place. The dress zippers to close over that. The skirt is made up of three layers as descried above. Done with Haute Couture construction techniques. Inner waist stay hooks to close.

Bust: 17" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: open
Length: 52" from top of bodice to hem

Modern Sizing Equivalent: SML-MED

Item# DD3588

Reference Photos: (1) Daniela Ghione in Valentino Haute Couture Spring/Summer 1986. Photo by Oliviero Toscani.  /  (2) Valentino Haute Couture SS 1986. Photo by Lord Snowdon.  /  (3) Model in Valentino Haute Couture, Vogue Italia, March 1986. Photo by Albert Watson.  /  (4-5) Nan Kempner at Barbara Walters's Four Month Wedding Anniversary Celebration at The Pierre Hotel in New York, September 1986.

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 incredible dress is from the Fall 2000 Yves Saint Laurent Haute Couture collection and its twin walked the runway that season. The collection was lauded by the press. Marie Claire said 'Faithful to himself, Yves Saint Laurent has once again surpassed himself, without ever betraying the clean look that has become his signature.' The New York Times review by Cathryn Horn noted that the show was attended by ladies such as Nan Kempner who sat just a few chairs away from Catherine Deneuve and Lauren Bacall. Nan was seen in the audience saying 'fabulous' as the dresses paraded past. The Times review included remarks on all of the couture shows that season and said that the 'day belonged to Saint Laurent'. They also noted that "There have been a lot of Saint Laurent shows in recent years when nothing clicked and you thought, 'Okay, this is as good as it's going to get.' But the thing one realized the other day was how vast and deep are Mr. Saint Laurent's reserves of creativity compared with those of other, younger designers who blow themselves out early and then spend the next 10 or 15 years splashing around in the same puddle." This dress is exceptional and a rare piece from one of his final collections. That same NYT article also noted that during this time period, couture dresses had a start cost of $50,000 ($75k in modern dollars), and went up from there. This dress is sourced from the original couture client.  

The dress is exquisite and I love that you can see just how wonderful it is on the body from the runway reference photos that I have found for you. It is made from an inky black silk velvet with inset panels around the skirt. The sleeves are long and straight and the dress is cut to sit fully off the shoulders. This allows your entire upper shoulders to show. It skims over the body and the velvet lies over a fully built in inner corseting that gives support and keeps the dress perfectly in place. This inner corset is fully boned and closes with its own separate zipper. The dress skims over the body with vertical seaming all around for each panel that the dress is made up of. It is meant to sit so that your shoes show from under the skirt and this length also gives the skirt the best possible length to show off its fullness and the ingenious insets all around the skirt. Just below the hips he has inset panels that are made from knife pleated black silk netting. The are set in in such a way that each is very full. The result is that you get a stunning bit of volume through the lower skirts as these flare out around you and move when you move. They have a touch of transparency to them so you get a suggestion of leg showing as you walk. A wide silk satin ties at the waist for the perfect finish. Yves once said of the colour black "I love black because it affirms, designs, and styles. A woman in a black dress is a pencil stroke". The dress looks to have been unworn or worn very little and was sourced form the original couture client. Excellent condition  

The outer velvet layer is fully interlined in a fine black silk satin. The built in corset is boned and shaped. It closes with its own zipper and has an inner waist stay that hooks to close. The exterior layer closes with a hand set zipper. Done with Haute Couture construction techniques. The silk ribbon belt is not original to the dress. It appears to have been unworn or worn very little

Sleeves: 22"
Inner bust: 17.5" flat across from side seam to side seam
Inner waist: 14.5" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: approx 56" from natural shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3586

Reference Photos: Fall 2000 Yves Saint Laurent Haute Couture Runway.

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

The New York times said of this collection at the time; 'Yves Saint Laurent did it. With sophistication and authority in his collection for spring and summer, he gave validity to couture, the high end of the fashion industry. There was no desperate groping: this is the way the most expensive clothes in the world should look, he seemed to say. As the showings sailed into their final days, he re-established himself today as the king of couture." after their review of the day and suit looks they continued to say; "Preliminaries over, he was ready for evening dresses, the serious business of couture. His unerring eye for color came to the fore....One-color dresses were also effective, in fuchsia, bright blue or rose. Rarely did he resort to embroideries...His effect was achieved through line and cut." The review ended with this lovely sentiment; 'Saint Laurent knew his show was a success. "The couture lives," he whispered backstage after it was over. His mother, Lucienne Saint Laurent, told him he had never done better. He seemed to agree. It is rare for a designer to reinvent himself at the age of 56, the way Saint Laurent had just done. The show recalled his glory days in the 1970's, when he set the guidelines for couture and the rest of fashion. He has now done that for the spring of 1993." 

This particular style dress has incredible provenance. On the runway this dress was shown in a darker, more subdued blue and I have those runway shots here. The twin of the runway dress is held in the Met Museums' collection in both a red and the darker blue. The blue one in their collection was donated by Annette de la Renta and the red belonged to style icon Nan Kempner. There was another darker one produced for Catherine Deneuve who wore it to accept the Cesar award for Indochine. Such an incredible amount of history tied to the dress and it is exciting to have such a full and varied picture of who else ordered and loved the dress.

My client had the dress made in one of the brighter blues that was used elsewhere in the collection that year and I love it in this brighter bolder color. The dress is cut to leave one shoulder completely bare. Both sides have long slim sleeve and there is a panel of the same silk gathered along the top of the shoulder that then swoops down over the bodice and the back. That draped panel is very full and I love how it drapes over the sleeve on that side. The inner details here show is the genius of couture. The zipper on that side is set so that is softly curves under the arm and runs down the top of the inner sleeve. That way the person wearing the dress does not have an uncomfortable zipper pull right under their arm. It also keeps the sleeve perfectly in place despite the absence of a shoulder. The waist is seamed and detail by a matching, hand dyed silk satin slim belt. The skirt falls the the floor under that, gently widening out as it nears the hem. The side opposite to the bare shoulder has a very high slit so that you get a flash of leg as you walk. It is stunning and in person the colour is a touch richer and deeper then how it photoed. The silk also has a slight texture to it that adds detailing in person that the camera does not quite convey. This is a wonderful example of how strong his tailoring was in evening wear and an important piece fromm a collection hailed as a triumph. Excellent overall condition with a small note below

Fully lined in a fine blue silk. Done with Haute Couture construction techniques and closes with a hidden set side zipper under the arm that curves up and into the sleeve as described above. Inner waist stay hooks to close. The fabric is cut on the bias so there is some give. There is a slight fading along the top of the shoulder and down that same sleeve. Please see the two photos after the reference shot. It is light and because of the placement once on it is barely seen. The hem has been let down at some point. The belt is original to the dress and is in excellent condition 

Sleeves: 27"
Bust: to 19" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Bodice: 18.5" from top of bodice to waist
Skirt: 43" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3582

Reference Photos: (1-2) S/S 1993 Yves Saint Laurent Haute Couture Runway.  /  (3-4) S/S 1993 Yves Saint Laurent Haute Couture Dresses from The MET Online Collection.  /  (5-6) Nan Kempner in Yves Saint Laurent, May 1993.  /  (7-8) Catherine Deneuve receives the César of the best actress 1993 for her interpretation in the film of Régis Wargnier "Indochine", March 08, 1993.  /  (9) Maxime, Loulou & Lucie de la Falaise in 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 an incredible example of Karl lagerfeld's Haute Couture work. On the runway this was shown with a full wide skirt and I love that it is different because it shows you the versatility of it how you could potentially wear it with a skirt from your own closet. My client opted for a sleek tapered legged trouser instead of the skirt which I think really allows the jacket and its lines to really shine. In the book 'Chanel Catwalk' they said of this collection; 'Karl Lagerfeld focused on suits ..for this haute couture collection, presented as a winding catwalk in a riding centre in the Bois de Boulogne. It featured 'only' fifty-eight looks, 'but I could have had many more,' Lagerfeld told Women's Wear Daily, 'because we have many clients and they want suits, suits, suits.'

The lines of this suit are crisp and sharp and the tailoring is immaculate. Both pieces are made out of a silk taffeta that allows them to retain the exact lines that Lagerfeld intended. The jacket is cut so that it is fitted to the upper bodice and shoulders and then flares outwards as it glides past the hips. The collar is neat and small and I love how it is notched and shaped at the front. It zips to close under a shaped panel of fabric at the front and there are two small discreet holes that you can slide a pin, french cuffs or a very thin ribbon through to add some detailing as they did on the runway. Each sleeve is long and straight with a touch of width to it. These end in a notched slit rather then a traditional cuff which falls in line with the sleek minimalist feel of the rest of the suit. In a little hidden surprise the underside of each cuff, the inside the collar and the front panel of fabric over the zipper have all been meticulously hand lined in a pale gold metallic silk. The pants are sleek and simple in their cut. They are flat fronted and cut to taper down to the ankles. A sharp pleat has been hand sewn down the front and the back of each leg. The inside of the suit is as immaculate as the outside and it is of course, entirely made by hand. The iconic gold Chanel chain runs along the inner hem of the jacket and I suspect that it is actually gold plated. Every stitch is perfection. This is a rare opportunity to own a piece of true couture by one of the most important designers of our lifetime. Excellent condition with a minor note below. 

The jacket is lined in a black silk and closes with a hidden zipper under the front panel of fabric. The pants zip to close with a hidden set side zipper. I see a slight touch of stress to part of the front middle seam on the pant, see the photo after the label shots. Both piece are hand finished to couture standards. Proper couture labels present with couture tape 78762 under the tag on the jacket and 78763 under the pant tag. Sourced from the original couture client 

Jacket
Sleeves: 23.5"
Shoulders: 15"
Bust: to 18" flat across from side seam to side seam
Waist: to 16" flat across from side seam to side seam
Hips: to 24" flat across from side seam to side seam
Length: 30" from neck to head 

Pant
Waist: 15" flat across from side seam to side seam
Hips: 21" flat across from side seam to side seam
Length: 38" from top of bodice to waist
Inseam: 28" from inner seam to hem

Modern Sizing Equivalent: SML-MED

Item# DD3580

Reference Photo: Spring 2000 Chanel Haute Couture 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.

Jean Paul Gaultier's illustrious career spans decades. His first show was in 1976 and his avant garde designs quickly gained him the reputation of being fashion's 'l'enfant terrible'. His designs mixed cultures with abandon, gender norms were blurred through his pieces and the body was presented encased in ways unimaginable prior to his brilliant vision. In 1997 he entered the sanctified world of Haute Couture and for just over two decades produced stunning work cumulating with his final show for Spring 2020. His pieces of couture rarely come to market and I am very pleased to have this unbelievably beautiful ensemble. This was look 33 for the Fall 2001 Haute Couture presentation entitled 'China and Spain'. For this season Gaultier combined elements from those two countries in a beautiful homage. Pieces from this collection were featured in the The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk exhibit of 2013 and to have a piece available for purchase is almost as rare as being able to have bought it as a couture client in the first place. After the show Gaultier said of this collection “I wanted to do something more sensual than sexy. The idea was to bring together everything that you imagine when you think of China and Spain—theater, movement, color, history and richness.” The twin of this look was worn by Alec Wek on the runway with a huge red bib neckpiece over the top. This may have been the only piece ever produced beyond the runway set. 

It is extraordinary to think that Jean Paul Gaultier has only produced a Haute Couture line for two short decades given his long career. Like most Haute Couture, this is a set that only truly comes to life when it is on an actual body. I was very pleased to have found the reference photos and video so that it shows you just how amazing it is on. The pants are a work of art. They are incredibly heavy. They have been densely beaded with glass tube beads in tightly spaced rows to cover every inch. Worked into the sequins are the brilliantly coloured flowers that you see. These are all hand embroidered and trail over the pant legs, wrapping around them to act as a living wall of art. The work to place each of these beads individually and do the embroidery must have taken hundreds of hours to complete. They are cut with a flat front and straight leg that is quite wide. So when you move they move and this adds another element to the design as the light catches the beads while the colours of the embroidered flowers burst around you. The top is made out of a silk jersey and my client ordered it in a solid black. It is ingenious how it closes with a complicated array of a hidden zipper front with two separate areas of silk covered snaps and hooks. I have included some photos of the stages of how it closes for you to see. It wraps around the body and drapes to the one side. The collar is high and you can see the reference to China with its shape. Each sleeve is incredibly long (see the third last detail photo before the label) and when they are pushed up the create a design detailing in themselves with a row of rounded gathers forming around the entire lower part of the arm. I love the long trailing swag of fabric that is set on one side. It cascades over the pants and to the floor. This panel of fabric elevates the design even more and gives it that Gaultier feel of going against the norm. It also has a nod to the trade de luces cape, part of the traditional clothing that Spanish bullfighters wear. It is a brilliant piece of Haute Couture and is everything you want to see in a Haute Couture piece; elegance, breathtaking beauty and a dash of avant garde. It appears to have never been worn or worn very little. Excellent condition. 

The upper portion of the top is lined in silk and it zips to close at the inside front. A jersey panel wraps over this and closes with a series of silk covered snap and hook & eye along the side near the neck and also along the waist and hip area of that same side. The pants are fully lined in a silk and close with a hand set zipper. There may be the occasional bead missing from the pants. All the interior work is done by hand to Haute Couture standards. Proper Couture tags on both pieces. It appears to have been worn very little if at all. Sourced from the original couture client 

Top
Sleeves: 45.5" and push up to wear
Shoulders: 15"
Bust: to 19" flat across from side seam to side seam
Interior waist: to 13" flat across from side seam to side seam, inner waist stay hooks at 14"
Hips: open
Length: 29" from neck to shortest point of the front side, 37" to longest point of the back
Hip swag: 47" from waist to longest point of the hem

Pant
Waist: 13" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 42" from top of bodice to waist
Inseam: 30" from inner seam to hem

Modern Sizing Equivalent: SML-MED

Item# DD3581

Reference Photos: Alek Wek for Fall 2001 Jean Paul Gaultier Haute Couture 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.

In October 1997, the first women’s ready to wear collection under the Narciso Rodriguez label was presented in Milan for the spring 1998 season. Rodriguez was awarded 'Best New Designer' at the Vogue/VH1 Fashion Awards in New York and the 'Perry Ellis Award' for best new designer by the Council of Fashion Designers of America that same year. He was the first designer ever to receive consecutive womenswear designer of the Year awards by the Council of Fashion Designers of America in 2002 and 2003. Countless other awards and accolades have been awarded to him as well. He also designed the bias-cut wedding dress that Carolyn Bessette wore for her marriage to John F. Kennedy, Jr. and Michelle Obama chose to wear a dress from the designer’s spring 2009 collection for her husbands victory as present and his first State of the Union address. You may remember seeing Claire Danes in a shorter version of this same dress for the 2012 Tribeca Film Festival. This one is a more evening version and my client had this one made for her by Rodriquez that year. As far as I am aware it was a bespoke piece and it is the only one in existence. It is a stunning example of how amazing of a designer he is. 

The dress is absolute perfection and showcases his talent for the bias cut that is meant to flatter a woman's body but never in a way that is too tight. Rather it just skims over your curves and is so very flattering. The dress is completely cut on the bias and made from a heavy deep fuchsia pink silk crepe. It has that minimalist tendency to it that he is so well known for with a crisp and elegant result. The bodice is cut with his signature bra cut top with a curving black silk panel set so that it scoops under the breasts. It then extends upwards to curve over each shoulder and down the back into a deep scoop. Inset above the black is a top stitched pink bit of silk. The dress flows past the waist from under the black with no seam to break the eye. It is cut on the bias so simply flows perfectly to the hips and then sweeps to the floor. Just above the knee on the skirt inset panels have been set in all the way around the lower part of the skirt. These give the lower skirt the shape volume you see. It moves and flow around you beautifully when you move. The back is cut longer into a slight train that flows behind you. It is absolutely stunning and pristine. The photos come close to the actual color but in person it is even better with slightly more depth and richness. Excellent condition  

Fully lined in a matching silk and closes with a back zipper. The zipper has a bit of a 'stick' feel to it when you close it. Appears to have never been worn or worn very little. The bias cut should allow it to fit a range of sizes

Bust: to 17.5" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 64" from top of shoulder to front hem, 74" to the back

Modern Sizing Equivalent: XS-MED

Item# DD3576

Reference Photo: Claire Danes in Narciso Rodriguez at the 2012 Tribeca Film Festival.

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 lovely dress by Reem Acra who for twenty years has been producing ready to wear and bridal collection. Her pieces tend to combine traditional elements with modern aesthetics and her work can be very beautiful. This was shown on the Spring 2006 runway with a slightly different bodice and then a version with sleeves and upper shoulders was used for the Bridal campaign ads that year and that one matches the bodice of the one I have in the shop today. 

The dress is very simple in cut and very flattering. It is made out of a pale silver grey silk chiffon through the skirting and then the bodice is a silk satin that is covered in a combination off seed beads and prong set rhinestones. The strapless bust is set in a high empire line and it is meant to be fitted and just cover the breasts. It is boned and formed inside to created that banded effect and to keep it in place. On to this is a lovely and intricate design that covers the entire bust all the way around. The design combines the tiniest of silver seed beads with small rhinestones. These catch the light and add a bit of glamour against the grey silk chiffon. Under the bust the skirt falls to the floor in a cascade of silk chiffon. It is feather light and made up of multiple layers of silk. There are two top layers of silk chiffon and then under that are two more layers of a silk dyed to the exact same colour. There are lots of little details that portray its high end origins. Each of the two pairs of layers of skirting are attached by little slips on the side so they hang perfectly in place. And at the back each layer closes with its own zipper and closure. It is very beautiful and even better in person as the camera doesn't quite capture the right shade of soft grey that it is or the glimmer of the rhinestones as they catch the light. It appears to have never been worn or worn very little. Excellent condition

Has a built in inner corset through the bust that is boned and closes with a back zipper. Another zipper closes a layer over that and then the outermost layer snaps into place. It appears to have never been worn or worn very little.

Bust: to 17" flat across from side seam to side seam
Seam under the bust: to 16" flat across from side seam to side seam
Hips: open
Bodice: 5.5" from top of bodice to waist
Skirt: 46" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3573

Reference Photos: (1-2) Spring 2006 Reem Acra Runway Collection.  /  (3) 2006 Reem Acra Bridal.

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

My couture client purchased this set in the spring of 2004 and it is a beautiful example of his work during this time period. This is one of the pieces made for retail sale that season and has many of the hallmarks we know and love about McQueen's work. Lace was used throughout the collection that year. Vogue said of the runway show; 'McQueen's signatures—elaborately pieced tailoring (now beautifully softened with delicate inserts of lingerie)... did star turns' and the this set lives up to that and more. 

Both pieces are made from a black silk taffeta and the top is detailed across the shoulder with a fine gossamer black lace. The skirt takes it reference from many of the cuts seen in the spirited dance show that the collection was presented with for that season. If you look through the photos of the show, you see many skirts were cut with this hip hugging silhouette that then flared outwards at the bottom skirting. On this set the flare is at the back with the front cut to be more of a sleek pencil shape. But when you turn to the side or around, you see that the silk hugs the bum and then flares out quite dramatically on either side at the back. The top showcases more of his elaborate and genius tailoring. It is cut and shaped by a series of vertical curved panels pieced together all the way around the body. It buttons down the front and has flap pockets set on each hip. The entire top of the shoulders and the capped sleeves are made out of a fine black lace that allows a glimpse of skin through its elaborate design. A wide grosgrain ribbon wraps around the top edge of the corseting and finishes with a neat flat bow at the front. The fabric choice gives it shape and holds the intended silhouette and the femininity of the lace is the perfect contrast against that sharp tailoring. This is Mcqueen at his finest and a stunning set that is even better once it is on an actual body. It appears to have never been worn or worn very little. Excellent condition. 

Both pieces are lined in a black silky rayon. The skirt zips to close with a hidden set zipper and the top buttons down the front. Note that it was a little small on the dress form and does button properly once on the correct size person. The skirt is tagged a 38 and the top is tagged a 40. It appears to have never been worn or worn very little. The entire set is a true black in person 

Top
Slightly dropped shoulders: 17"
Bust: 16" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Length: 23" from neck to hem

Skirt 
Waist: 14" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Length: 23.5" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3572

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 found two versions of this dress when researching it. One was a Haute Couture version in a gold brocade from the Fall 1997-1998 runway. The Couture version took the formed and shaped bust-line to an even greater degree then this ready to wear version that I have here. Then there was an all black version shown for the Fall 1998 ready-to-wear show and you can see it has the same silhouette as this dress does. If you then combine the two, taking that same RTW shape and making it on the fabric from the Couture show, you have this dress. Finding runway references for Mugler's work is not always easy as he would often change designs for production and produced many pieces that were not shown on the runway. It's an extraordinary find.

I love the sharp fitted cut of the dress and that shaped bodice is exactly the kind of lines that we expect when we think of his work. That shaped, curved and pointed bust-line felt scandalous when they were first shown on the runway and still feel that way years later. This is classic Mugler and very collectible as a result. The dress is made out of a gold brocade that is heavy enough so that it was able to be sculpted into that curving shape. It molds and accentuates your curves. The curves through the hips are there whether it is on or off the body and he plays and exaggerates the female form through them. All of the shape is created through seaming to help to give the dress structure, shape and support. The waist nips in and the hips curve out and away from the body. The skirt is cut above the knee and curves in at the hem to further exaggerate the shape. The bust is spectacular. It is seamed and molded like a bra cup and then has those extensions that wing up into points on both sides. The cups are inset at the front so the shape is pushed to the front as you can see in the reference photos. You only have to look at the runway photos included to know how amazing this one is going to be on. The colour in person is a much stronger metallic gold feeling and really is better in real life. The fabric is also surprising soft. It's really fabulous. Excellent condition.

Fully lined in a brown silky rayon and closes with a back zipper. Tagged a vintage Mugler 38. The cups will probably fit up to a B, maybe a small C. They are seamed and wired for shape.

Bust: 16.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 28" from top of bodice to hem and the paint extend about
2.5” above the top of the bodice

Modern Sizing Equivalent: XS-SML

Item# DD3567

Reference Photos: (1) Fall 1997-98 Thierry Mugler Haute Couture Runway.  /  (2) Fall 1998 Thierry Mugler Runway.

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

Isaac Mizrahi presented his first collection through a trunk show at Bergdorf Goodman's in 1987. By 1992 Chanel had bought a stake in the company and Isaac's name was everywhere. He was doing custom work for clients and Hollywood on top of his mainline. In 1995 Isaac was the subject of the movie 'Unzipped' based on his Fall 1994 collection. He is known as much for his personality as he was for his clothing. The Council of Fashion Designers of America (CFDA) recognized him with the Perry Ellis Award (now called the Swarovski Emerging Talent Award) in 1988 and the women's wear designer of the year award in 1989. He loved to experiment and would often change his aesthetics from season to season which was his ultimate downfall. After the fall 1998 show Chanel pulled its stake and the company folded. He did have a couple of subsequent come back attempts, but for collectors these early years are the most important pieces to find.

My client had this dress custom created for herself and worked one on one with Issac on it. It is a dress that really showcases his depth as a designer and it is stunningly beautiful. It is made to demi-couture standards and it looks to have never been worn. The bodice is amazing. It is strapless and is densely covered with large, glossy black beading mixed with large prong set glass crystal rhinestones. These are so heavily applied that you cannot see even a smidge of fabric between them. The size of the beads, combined with the ultra tight spacing of them give it a 3 dimensional effect. The beadwork wraps completely around you to the back. The top of the bodice curves in the most flattering of ways and to is molded to follow the curve of the breast. The dress falls from directly under the bust so that there is no line at the waist to break the beautiful curve of the skirt. The body of the dress is made from a fine black lace and he has set that over a inner nude silk lining. From a distance this gives the effect that you are covered in just a layer of lace. The skirt sweeps down from under that heavily beaded bust, skims past the waist and then starts to flare out from there. It is cut so that by the time it has reached the middle of your legs it flares out tremendously for the lower skirt. This combination of the flared out lower skirt and the black lace give it a touch of a Spanish feel I think. Extra tulle attached to the inner lining help to keep that gorgeous shape that you see. It is even better in person and once on an actual body it really comes to life as the skirts float and swish around you at the slightest movement. It appears to have never been worn or worn very little. Excellent condition

Fully lined in a two layers of a golden nude silk. The innermost layer of the skirt has additional tulle around the hem to help hold the shape. The bodice has a built in inner corset that closes with its own set of lingerie hook and eye. The exterior layer closes over that with a back zipper. Some marks to the inside hems but otherwise it appears to have never been worn or worn very little. 

Bust: 17" flat across from side seam to side seam with an approx A-B cup
Inner waist: 13.5" flat across from side seam to side seam
Hips: open
Length: 56" from top of bodice to hem

Modern Sizing Equivalent: SML-MED

Item# DD3564

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 longer skirted version of this was presented as Look 38 of the Fall 2001 Haute Couture collection. For the runway it was shown with a full length evening skirt. My client ordered it with a more wearable pencil skirt length which gives it the added benefit of being able to be worn from day through to evening. The Fall 2001 collection was one of his final collections and to have a piece from this season is very special. Vogue noted that "Cocktail hour incorporated every possible variation on the tuxedo: There was a button-front dress, a smoking jacket that morphed into a full tulle skirt, and, naturally, an updated version of the masculine tux immortalized by Helmut Newton in the '70s." Yves play on the tuxedo and 'Le Smoking' suit is one of is 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'. 

I love the extra wide collar on this one. It is so bold and yet still elegant and refined in feel. There is nothing quite like slipping on a tailored piece of true haute Couture. It feels different somehow and the feeling is something you can only really experience for yourself. The construction is meticulous and it is in wonderful condition. It is sourced from the original couture client. These suits were all done in a play on a men's tux and then were shaped and tweaked by Yves to be immensely flattering on the female body. The cut is masterful and its simple appearance is produced by genius tailoring that is sharp and meticulous. The jacket is tailored with a sleek cut that follows the curves of the body. It is slightly cropped to sit just at the top of the hip. It has his signature matte satin tuxedo collar and on this one that line is exaggerated to cover almost the entire front of the bust area. 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 a single faced, glossy jet button to close below that amazing collar. Two discreet pockets are top set on the hips and the shoulders are sharp and perfectly padded. The fabric that he chose is has a fine rubbing effect to it and it has enough weight that it holds the lines perfectly once it is on. The skirt is cut in a simple pencil shape. Once on, the suit transforms and you can see how beautiful the lines are from the runway photos and video that I have included here for reference. His suits change the way we approach woman's wear and any example of the Le Smoking version is particularly 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 from one of his final collections. Excellent condition

Both pieces are lined in a rich heavy black silk. The jacket has a single button at the front to close. The skirt has a zipper and hook & eye at the waist. Two pockets on the jacket. All hand finished to couture standards. It looks to have been worn very little if at all. All Haute Couture tags present and it was sourced from the original couture client 

Jacket
Sleeves: 23"
Shoulders: 15"
Bust: to 19" flat across from side seam to side seam
Waist: to 17" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 23" from neck to hem at the front, 22 at the back

Skirt
Waist: 15" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 23.5" from waist to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3559

Reference Photos: Diana Gärtner for Yves Saint Laurent Fall 2001 Haute Couture Runway Collection. Look 38.

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

The twin of this dress was showcased in a special presentation for the InStyle & "A Diamond is Forever" Sneak Peek at Red Carpet Fashion for the 2004 Awards Season. I have included photos from that so that you can see just how gorgeous this dress is once on. This is definitely one of the prettiest Oscar dresses I have ever had in the shop 

The dress is a dream. It is made out of a yellow printed silk chiffon that has a soft green fern print scattered across its surface. It has a soft rounded shape to the upper bodice and the silk is draped over the torso to fall down and around you in gentle draping that goes from the top of the bust to just below the hips. I love how it is scooped up at the middle and the skirt is set in and under the draped bodice. The skirt has a ton of volume to it that shows best when you move. It has four full sets of ruffled tiers that fall softly to the floor. The lightness of the silk causes the ruffles on the skirt to move with the slightest bit of air. When this is on and you are walking the effect that this creates is absolutely gorgeous. It is held in place by the straps that come up and out of the front bodice and wrap around and hook behind the beck. This is made out of the same silk as the dress. This strip of detailing is gathered in a ruffle and the edges are left raw. Then, set along the entire length of the ruffle are little hand made flowers. This extra little detail is fabulous and adds an extra element of romance and femininity. This is Oscar at his best and a tremendously beautiful dress. It appears to have been worn very little if at all. Excellent condition. 

The bodice and torso are lined in a matching deep yellow silk. The ruffles of the skirt are set on top of the same silk chiffon so you get a touch of transparency as they move. It closes with an inner zipper to close the built in boned inner support and then a second hidden set zipper over that to close the exterior dress. The straps hook to close behind the neck. Lightly boned through the inner bodice. Inner waist stay hooks to close. Hand finishes through out 

Bust: to 17" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 59" from top of neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD5556

Reference Photos: Model wearing Oscar de la Renta for the InStyle & "A Diamond is Forever" Sneak Peek at Red Carpet Fashion for the 2004 Awards Season, January 2004.

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 dress comes directly from the original couture client and is in immaculate condition. It was ordered and made on the same time 1985 period as the crystal bow dress I am listing today. This is an exceptional example of Valentino's Haute Couture work that he was doing during the 1980s. Finding pieces from this time period in such immaculate condition is a rarity and I am very pleased to have this beautiful dress in the shop. I am also pleased to have found a reference photo to fully document and date it on Christy Turlington from the November issue of Vogue 1986

This dress is divine. The lines of it are beautiful and as good as it looks on the dress form it is perfection on an actual body. Couture pieces are very difficult to truly show in a photo as they are meant to highlight and show off the body and only truly come to life when worn. The bodice of this dress is made from an inky black silk velvet. It is fitted and nipped in at the waist. One shoulder is left bare and the other is encased in a sheath of velvet. The sleeve is cut to the wrist and the shoulder is set to be high and capped with a pretty gathered seam set on an angle on both the front and the back. The shoulder pad underneath is hand formed so that it is rounded to flow and exaggerate the curve of the shoulder. The skirt is wonderful. It is set into the waist in a series of soft pleats that help to give it the fullness that you see. It is very full and cut with a nod to the skirts of the fifties. It is made from a gunmetal silk taffeta that has wide panels of velvet flocking fused to its surface. These wrap around the skirt in three bands starting just under the waist and ending just above the hem. The inner construction of the skirt is amazing. The outermost layer is backed in a silk organza and all of the seams are hand finished along their edges. Set inside the skirt is that startling emerald green silk taffeta underskirt that is built into the dress. It falls below the hips and then has a second ruffled piece nearer the hem for fullness. This is placed into the interior by hand and backed in silk. There is a wide strip of stiffened net running though the two inner hems. It is cut very full to give the skirt its shape and volume. Plus the unexpected flash of green when you move a certain way or sit is fantastic. It feels very tactile on to have all these skirt swirling around you as you move. It really is wonderful and an amazing example of his earlier Haute Couture work. Excellent condition. 

The bodice, skirt and underskirts are all lined and backed in silk. The sleeve is self backed. Done with Haute Couture construction techniques and it closes with a hidden set metal zipper at the side and then has silk covered snaps and a secondary zipper on the side of the skirt. I have photoed this for you. Inner waist stay hooks to close. Hand made padding on the shoulder and light boning at the side of the bodice around the zipper. A fine metal zipper to close the end of the sleeve. Built in underskirt with stiffened inset at the edges as described above. 

Sleeve: 22.5"
Bust: 17.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 15.5" from top of bodice to waist
Skirt: 31.5" from waist to hem with 4.5" turned under the hem

Modern Sizing Equivalent: SML-MED

Item# DD3553

Reference Photo: Christy Turlington in Valentino, Vogue, November 1986.

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

Isaac Mizrahi presented his first collection through a trunk show at Bergdorf Goodman's in 1987. By 1992 Chanel had bought a stake in the company and Isaac's name was everywhere. He was doing custom work for clients and Hollywood on top of his mainline. In 1995 Isaac was the subject of the movie 'Unzipped' based on his Fall 1994 collection. He is known as much for his personality as he was for his clothing. The Council of Fashion Designers of America (CFDA) recognized him with the Perry Ellis Award (now called the Swarovski Emerging Talent Award) in 1988 and the women's wear designer of the year award in 1989. He loved to experiment and would often change his aesthetics from season to season which was his ultimate downfall. After the fall 1998 show Chanel pulled its stake and the company folded. He did have a couple of subsequent come backs, but for collectors these early years are the most important pieces to find.

My client recalls having this made for her in 1998 which dates it to his final year. It is a one-off and was a custom created piece just for her. One of the keystones of Mizrahi's work was that he used surprising fabrics in unexpected ways and that is displayed in this set. The top is made out of a double layer of stretch jersey that is the same nude jersey that you would normally see in lingerie. That doesn't feel all that avant garde for our modern world, but in 1998, to use lingerie fabric for outerwear would have been startling. The top is easy to wear and has the simple lines that he preferred. It is sleeveless with a slight ruffled effect around each arm. It zips up the back with a large exposed silver zipper and the edges are left raw cut. Over this is a floor length silk taffeta skirt. It has a lovely long line with pockets on each hip. At the waist it is detailed with a nude silk netting that is set around the waist in a three dimensional pin-tuck triangle design.  The one-off, rare set is gorgeous on an actual body and in person the textures of the fabrics really play off of each other. It appears to have never been worn or worn very little. Excellent condition

The top is a double layer of the nude jersey and the skirt is lined in a black silk organza. The top closes with the back exposed zipper that you see and the skirt closes with w zipper and hook & eye at the waist band. The top is tagged a S and the skirt a 4. Both pieces appear to have never been worn or worn very little. The top does have some stretch. The nude is a slightly different shade then how it photoed. Think the color of standard lingerie stretch nude fabric

Top
Bust: 14-17" flat across from side seam to side seam
Waist: 14-15" flat across from side seam to side seam
Hips: 17-19" flat across from side seam to side seam
Length: 22"

Skirt
Waist: 13" flat across from side seam to side seam
Hips: open
Length: 48" from waist to hem with 2" turned under the hem. The ruffle extends an additional 1" up from the top seam at the waist

Modern Sizing Equivalent: SML-MED

Item# DD3546

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

Philip Treacy was discovered by Isabella Blow in 1989. She was fundamental to introducing him to the fashion houses and Treacy quickly became known world wide. Vogue declared him as "perhaps the greatest living milliner", he was the first milliner in 80 years to be asked to exhibit during the Paris shows and his work is held in major museums worldwide. His work has graced the runways of Givenchy, Chanel and Valentino and earned him an OBE in 2007. I have three hats from my client who had each one made for her during the time period of 2001 -2006. Each comes with its original box and each is in perfect condition

This amazing hat one is a pale ivory color and it is made out of parasisal straw which is a fine natural straw woven from the fibres of the sisal plant, a type of agave. This straw is used in haute couture millinery because of its high quality and smooth weave and ability to take on color. Here he has hand blocked it onto a high crown that slants towards the front. The brim is wide and flat for extra drama. Wrapped around the base of the crown is a hand made wide ivory silk band. At one side towards the back there is a fluff of soft white feathers and then a spray of long ivory stiffened feathers that jaunt up and back. It is very hard to photo this color and the hat in person is even better than how it photoed. It is gorgeous in person. It looks to have never been worn or worn very little. This is a rare opportunity to acquire a bespoke piece from one of the preeminent hat designers of this century. Excellent condition

Has an ivory silk inner band with a strip of ivory velvet at the inner front for comfort when wearing. Has its original box with its hat form inside. The hat appears to have never been worn. The box was what it was shipped in so it has some scuffs and two of the corners of the lid have been taped.

Item# A383

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

Philip Treacy was discovered by Isabella Blow in 1989. She was fundamental to introducing him to the fashion houses and Treacy quickly became known world wide. Vogue declared him as "perhaps the greatest living milliner", he was the first milliner in 80 years to be asked to exhibit during the Paris shows and his work is held in major museums worldwide. His work has graced the runways of Givenchy, Chanel and Valentino and earned him an OBE in 2007. I have three hats from my client who had each one made for her during the time period of 2001 -2006. Each comes with its original box and each is in perfect condition

This one is the softest possible pale pinkish color and it is made out of parasisal straw which is a fine natural straw woven from the fibres of the sisal plant, a type of agave. This straw is used in haute couture millinery because of its high quality and smooth weave and ability to take on color. Here he has hand blocked it into a high crown with a jaunty little curve and peak at the top. The brim is slightly asymmetrical and curved gently down to highlight the face. Wrapped around the base of the crown is a hand made straw band that has been hand dyed to a soft red. This wraps and then ties in a curling detail at the front. It is beautiful. It looks to have never been worn or worn very little. This is a rare opportunity to acquire a bespoke piece from one of the preeminent hat designers of this century. Excellent condition

Lined in an ivory silk with a strip of ivory velvet at the inner front for comfort when wearing. Has its original box with its hat form inside. The hat appears to have never been worn. The box was what it was shipped in so has some marks from the packing tape, scuffs and a dent in a corner.

Item# A381

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