Paco Rabanne was a Spanish designer who became known as "l'enfant terrible (unruly child) of the 1960s French fashion world. He began making jewellery in unusual materials for many of the French couturiers and in 1964 at the age of 30 presented his first collection. In 1966 he had his breakout show: 'Twelve Unwearable Dresses in Contemporary Materials.' and it was with this show that he found his calling. He was quoted as saying 'sewing is a bondage,' and made his dresses out of paper, plastic and metal, which were pieced together with wire and glue. By 1968 some of the most famous women in the world were wearing his pieces and along with André Courrèges and Pierre Cardin, he helped to create the 1960s Space Age movement. Dating his pieces can be incredibly difficult but I did find a 1967 photo of Actress Noele Noblecourt wearing a dress that used strips of mirrors and a similar bead technique where they linked. Based on the information given to me by my client I believe that this dress was made in and around this time period. 

The dress is absolutely incredible. The main part of the dress is made up of mirrored triangles. These are hand linked together one by one to create the shape and form that you see. The work and hours that would have went into pre-planning thee shape and figuring out how to lay out the pieces, drilling each hole and linking them together, is mind boggling. As you look closer you realize that the dress is made out of grouping of the triangles and that there is a pattern within the pattern. Each of these shaped sections are made from six triangles that have been linked together. At the centre where they all meet there is a huge crystal tear drop that has been suspended from a metal loop. He then took one of the triangles within each these six triangle clusters and wrapped a length of clear faceted beads over it. The beads have been twisted and curved over the top of that single triangle so gives the dress an even greater 3D feel that is already has. You can see on the back of the triangles that that beadwork was added with silver wire that was hand wrapped around its triangle to secure it into place. The six triangle cluster were then all linked together to form the shape of the dress that you see. To create the shoulder straps he used a linked metal chain set with large glass rhinestones. Each one is prong set within its own casement and then these are linked together by wire. The rhinestone straps are set so that they lie across the top of the front bodice, curve over the shoulders and then lie across the back. The dress skims over the body and ends in an ultra short mini length that shows miles of legs. At the back it closes with Rabanne's signature metal clips that are set to organically down the back, hidden between the triangle clusters, so that there is no apparent line down the back to break the eye. The dress comes with a matching bag that is made out of the exact same technique and has a matching rhinestone chain as its strap. Both piece are very heavy. The dress and bag combined weigh just over ten pounds. The way that this dress catches the light and the soft sound it makes when you move is extraordinary. With your slightest movement the tears drop beads move and the mirrors reflect the light. Most examples from this time period are a monochromatic silver chainmail and it is unusual and rare to find such an ornate example like this, never mind one that still has its matching bag. It is incredible and easily one of the best pieces I have ever seen in all my years doing vintage. Early examples of Rabanne's work are held mainly in museums around the globe and really ornate pieces like this rarely come to market. It is exceptional and appears to have been worn very little if at all. Excellent condition

Slips on to wear with metal clamping hinge hooks at the back. The linked together pieces give it an almost bias cut feel as far as the way it sits on the body. It is in incredible condition and appears to have never been worn or worn very little. Completely assembled by hand

Dress
Bust: approx 15-16.5" flat across from side to side
Waist: approx to 15" flat across from side to side
Hip: approx 16-18" flat across from side to side
Length: 31" from shoulder to hem

Bag
6"H x 9"W and linked flat together, It expands out because of the links. The rhinestone strap adds another 6.5" to the height of the bag

Modern Sizing Equivalent: XXS-SML

Item# DD3630

Reference Photo: Noele Noblecourt in Paco Rabanne, February 1967.

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

John Galliano was moved over from Givenchy to Dior in October of 1996 and stayed there until he was dismissed in February of 2011. During John Galliano's years at the house of Christian Dior he arguably produced some of the most amazing bias cut gowns in the houses history. His work, especially the bias cut pieces that he did, have a feeling of the decadence and abandonment of the twenties and they are beautifully cut. They marry Old Hollywood with the minimalist spirit of the nineties and early 2000s and the results are stunning. This is an amazing example of his work while there and it has a fantastically dramatic feel to it. 

This dress is made from a deep red satin finish fabric that is cut completely on the bias. It is very beautiful. The bias cut allows it to skim and drape over the body so that is shows every curve but is not tight at all. The neckline is wonderful. One side is attached and curves up and over the shoulder. The other side is a panel that extends out from the neckline and then you let it drape over the opposite shoulder. This panel is very long so it drapes down your back to create the most beautiful line. The dress is cut to follow the curves of the body with seaming reminiscent of the work you see from the twenties and thirties. A panel of fabric is gathered low across the hips   and the the skirt flares out under that. The skirt is remarkable and cut with a long extended panel at one side. This has a little loop at the end so you can hold it on one hand or hook it to a bracelet so it curves across the front or back of your body. You can also hook it onto any of the buttons that run down the side of the dress. You can do a single loop at the side or wrap it around you and hook it. I have shown it a couple of different ways and I bet there are a dozen more clever ways you could style it. This gives the dress such a dramatic and couture feel. I love it. A tightly spaced row of buttons runs down the side of the dress to close. This is of course a Galliano signature and it this adds to the sense of antiquity the dress has. It is stunning on. Excellent condition

Unlined and cut on the bias. It slips on to wear and closes with the series of buttons and fabric loops that run down the side. Inner waist stay hooks to close. The bias cut should allow it to fit a variety of sizes. The length might come up when on depending on the size of the girl underneath since it is cut on the bias. This does not have its main Dior tag anymore but does have its proper Dior sizing tag present. Tagged a US6

Bust: 15-17" flat across from side seam to side seam
Waist: 11-12.5" flat across from side seam to side seam, you could get a little more room here if you don't do up the inner waist stay
Hips: 17-19" flat across from side seam to side seam
Length: 64" from shoulder to the front hem, 66" to the the back hem

Modern Sizing Equivalent: XS-MED

Item# DD3619

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 2008 Oscar de la Renta Bridal collection was amazing and this was one of the stars of the show. One of my clients recognized the fabric on the skirt when I posted a preview photo of this dress in my instagram stories and she actually got married in the twin of this gown. She shared with me that the dress was just under $20,000 USD when she purchased it. Oscar launched his first bridal collection in October of 2002 and his wedding pieces have been worn by some of the most famous women in the world. He once said 'In the same manner that she fell in love with that man, I hope she's going to fall in love with that dress.' Countless brides have done just that and I think this may be one of the most beautiful wedding dresses I have ever seen from him. It literally takes you breathe away when you see and hold it in person.

The dress is strapless and cut to hug your curves from the bust to below the hips. From there is flows into a stunning skirt that sweeps around you and trains outwards at the back. Inside is an intricately constructed corset with boning andand built in cups to shape and hold you and the dress in place. The fabric on this one is just extraordinary. The base is an ivory silk organza that has just a touch of transparency to it so it feels light and feminine. Onto this is a complex design that is made up of stiffen silk ribbon folded into flower like designs that run over the entirety of the dress. These are all placed so that they sit up and off the fabric so that it has this wonderful 3D feel to it. Interspersed around these are white thread embroidery and then more embroidery is done in the same ivory tone as the silk base. The ivory embroidered parts are a combination of knotting, to add to the dimension of the design, and flat embroidery work. The tiniest seed beads are then worked into this pattern to add yet another element to the design. The end result is that every inch is covered with this amazing hand work. The dress has a true old world haute couture feel to it and I have never seen a wedding gown done so elaborately over every bit of the fabric. No matter how good it looks in the photos it is better in person and on the body. It is wonderfully traditional in some ways but still feels fresh and modern. It is definitely a dress that will cause gasps when you walk down the aisle. It was never worn. Excellent condition with one note below 

Fully lined in an ivory silk. The bottom hem of the skirt is finished with a wide band of stiffened netting along the inner hem and the dress closes with a hidden set back zipper. It has a built in interior corset bodice that is boned and shaped all the way around. The interior corset closes with its own zipper. Finished to couture standards and tons of work by hand. There is a darkened mark on the back of the skirt and I have included a closer shot of the areas and also one where you can see the placement. You could wear it was is, replace the ribbon that is discoloured or it may come out with specialty cleaning. It was never worn. No size tag but best suited for a 0-2 or small busted/ narrow ribbed 4

Bust: to 16.5" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: open
Length: 55" from top of bodice to hem at the front and the back extends to 70" 

Modern Sizing Equivalent: XXS-XS

Item# DD3615

Reference Photos: 2008 Oscar De La Renta Bridal 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.

The twin of this jumpsuit walked the runway for the Resort 2007 collection. It was Look 5 on the runway and was styled with a very casual vibe to it. The show took place in the Grand Central Terminal in New York and stars like Mischa Barton, Naomi Watts, Julianne Moore, and Maria Bello all sat in the audience. Karl said of the show that season; 'Cruise is all about travelling, so the symbol of the station is a good idea... and I love the space, I always have. I think it is one of the most beautiful spaces in New York.' Its a stunning example of Karl's view on how to do casual while still feeling elevated. And adding a heel instantly makes it more of a evening look. The look is also one of the few showcased on the book 'Chanel: Catwalk' for this season's presentation.

The jumpsuit is made out of a textured cotton that is just a shade or two off of a true stark white. It is cut to skim over the body and feel easy to wear. It is loose and easy through the waist and then the pants skim down from there. Each leg is shaped into the perfect boot cut with just a hint of a flare by the time they reach the hem. Depending on how tall you are they will sit slightly cropped. Top set pockets sit low slung on each hip and two more pockets are set at the back. Each of those are detailed with a silver stud engraved with 'Chanel Paris' spelled out. I love the built in waistband with its chic belt loops and crossed over X at the back. It is like a design detail all on its own and makes wearing a belt optional. The front laces up with three thick white nautical feeling cords down the front. Behind those is a modesty panel that is attached one side and buttons into place on the other. This covers the space between the laces so that you get a hint of sexy but are perfectly OK to move around without exposing anything. I folded that panel back on one shot so you could see how bare a look you could get to you decided to have it made to be removable. The cut of this is perfection and the fabric is exquisite. Inside, the back of the modesty panel, around the neck and around the waist is a finish of silk that is embossed with the famous double C Chanel logo. On the runway the jumpsuit was shown with one of the Chanel belts of the season and you could easily wear it with any belt of your choosing or simply wear it as is and unbelted. Without a belt the line of the eye does not get broken and it has a longer silhouette. It is so versatile and chic. It can be worn with flats for lunch or heels for evening. Excellent condition 

Partially lined as described above and the rest of the jumpsuit is unlined. It laces at the front and there is a hidden set zipper under that. Tagged a Chanel 40 and looks to have been worn very little. 

Slightly inset shoulders: 14.5"
Bust: to 20 " flat across from side seam to side seam
Waist: to 16.5  " flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 59" from neck to hem of pants 
Inseam: 31" from hem up

Modern Sizing Equivalent: SML-MED

Item# DD3616

Reference Photo: (1) 2007 Cruise Chanel Runway Collection, Look 5.  /  (2-3) From the book "Chanel: Catwalk" by Thames and Hudson.

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

Arnold Scaasi was born Arnold Isaacs in Montreal and the name Scassi is simply his own surname in reverse. He studied in Montreal and in Paris, apprenticed at the house of Paquin and then worked with the legendary Charles James. In 1964 he opened own couture salon. He dressed Hollywood stars like Lauren Bacall, Diahann Carroll and Elizabeth Taylor. He dressed several first ladies including Mamie Eisenhower, Hillary Clinton and both the Bush first ladies. He even once bragged that he refused to give Jackie clothes for free. He was the man behind the scandalous 1969 Barbra Streisand sheer trouser outfit that she collected her Oscar in, and he was presented with the Council of Fashion Designers of America Lifetime Achievement Award in 1996. 

This dress is especially interesting for two reasons. The first is that a very similar version that was done completely in silver was done for Elizabeth Taylor. She wore the dress to the 20th annual Fifi Awards in 1992 and I have dated this one based on that dress. Shortly after her death in 2011, her all silver 'Platinum' version was sold through Christies as part of the 'Collection of Elizabeth Taylor' auction. Due to the association with her name it realized a incredible $72,000USD hammer price. The second interesting thing of note about this dress is that when I posted a preview of the fabric of skirt in my instagram stories I had many people think that the dress was actually the 2016 Balenciaga dress that I have included a photo of here. I ended up getting into a discussion with fashion journalist Alexander Fury about it and he suspects that both fabrics were done by the Jakob Schlaepfer company who has been creating fabrics for the most prestigious fashion brands in the industry for over 100 years. The Balenciaga team most likely selected the archive fabric that the Scassi dress was originally made out of and then had it recreated and tweaked for the Balenciaga dress. This is a common occurrence with the older more prestigious fabric houses and it is fascinating to see such a clear line of the progression between one dress to another. All of this makes this dress a very historically interesting piece. The dress is from his main label and these were made to couture standards.

The dress is a showstopper. The skirt is made out of the silver embroidered and sequinned fabric that you see and the dense application of the embroidered work along with the underlying structure gives it a definitive and structured shape. That shape is all achieved by the inner structure and built in skirting and I did not add any additional underpinnings. The bodice is made out of a deep green silk velvet. It is shaped and fitted to the body. The waist is cut to nip in sharply. I love how the silver embroidery on the skirt is set on a sharp upward angled point at the front and then the neckline angles down towards that in its own sharp point. The sleeves are amazing. Each is set high on the shoulder and explode outward in hand gathered high poufed silhouette to create maximum volume. They are wonderfully dramatic and full with inner built in layers of silk and tulle to hold the volume. The inner construction of this dress is as amazing as the exterior. The very inner skirt is made from a fine deep green silk with a broad band of horsehair taping inside the bottom hem. Between that and the outer layer of silk are layers of stiffened white netted tulle. The sleeves are equally incredible and are shaped to have that gorgeous fullness to them. Each has an inner finish of tulle netting to hold the shape. The bodice is corseted and boned. The inside is exquisitely constructed and it is all hand finished. This is a stunning dress and the history associated with it makes it that much more fascinating. Excellent  condition with a minor note below

Fully lined in a fine deep green silk. The skirt is finished with attached inner skirts as described above. The sleeves are finished with tulle inside the lining. It closes with a hand set back metal zipper. The bodice is boned and shaped all the way around. Finished to couture standards by hand. At some point a repair was done to the edge of the inner tulle of the skirt. Otherwise looks to have been worn very little if at all. 

Bust: to 15.5" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: open
Length: 58" from top of shoulder to hem with approx another 4' turned under the hem

Modern Sizing Equivalent: XXS-XS

Item# DD3614

Reference Photos: (1) Elizabeth Taylor wearing Arnold Scaasi at the 20th annual Fifi Awards, 1992.  /  (2-4) 1990s Arnold Scaasi Dress from The Collection of Elizabeth Taylor's Auction for Christie's.  /  (5-8) F/W 2016 Balenciaga Runway Collection.

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

The twin of this dress was shown on the Fall runway for 2006. In Vogue's review of the collection journalist Nicole Phelps said in part; 'While other designers flit from one influence to another, Oscar de la Renta has made a four-decade-long career of staying true to his brand of ladylike elegance'. On the runway the dress was styled with long gloves and a wide expanse of black silk tulle wrapped around the neck. Once those styling elements are stripped away you really see how beautiful the lines of the dress are. 2006 was an important year in Oscar's history. This is the same year that Parsons awarded him with the Lifetime Achievement Award at their 58th Annual Benefit and Fashion Show.

This Oscar de la Renta dress is absolutely gorgeous. It is red carpet worthy and would even make an amazing wedding piece for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. It is in fabulous condition. The dress is covered with a dense application of muted gold sequins and silver paillettes in various shapes and sizes. These are densely set onto the entire dress and even overlap each other for the majority of the application of them. I love how the are so tightly spaced to cover the top of the dress and then as they run past the hips and down the skirt they start to be spaced further apart so that you get more of a sense of the black netting underneath. It gives it this amazing fairy tale quality and makes you think of stars and the night sky. Running around the the neckline is a dense band of large gold toned beadwork and crystals. A smaller band of the same bead and crystal work runs around the opening for each arm. The dress is made up of four layers. Under the top appliquéd layer are three other layers of black silk tulle netting. All of the sequins and beads have been applied to the very top outer layer. The use of various sizes and shapes for the sequins that cover the dress cause the light to catch the dress in a slightly different ways as you move and it creates the most amazing effect and they also highlight the shape of the dress. The dress is sleeveless and cut to be fitted tot he body to below the hip. At this point the lower skirt flares out dramatically. It is cut longer at the back for a beautiful sweeping line and suggestion of a train. It is very well made and absolutely stunning in person. It appears to have been worn very little if at all. Excellent condition.

The black netting serves as the inner lining through the bodice and fitted parts. Below that the skirt is constructed from four layers of silk tulle as described above. It closes at the back with a metal and nylon zipper and there is an inner grosgrain waist stay that hooks to close. There are couple areas where the netting shows through a little more then others. Please see the photos after the label shot. Tagged a size 2. It does close completely at the back on the proper sized person.

Bust: 15.5" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: open
Length: 62" from shoulder to front hem, 72" to back hem

Modern Sizing Equivalent: XXS-SML

Item# DD3613

Reference Photos: Fall 2006 Oscar De La Renta Runway Collection, Look 62. Model: Emina Cunmulaj.

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 already had the documentation on this dress because I sold an unlabeled brown coloured version of it in the past. This one however, seems to be the near twin of the one that I have a reference photo of and have included here. It is an interesting piece because of the documentation and it also has an interesting design in the way that it wraps and closes. The dress is not perfect. The dye has faded substantially on parts of it. It may be possible to re-dye it but my client did not want to do that now in case it is important to a collector to have it stay as original as possible. It is an amazing example of his early couture work.

Regardless of its imperfections, the dress is amazing and the pink is an instant eye catcher. The inner dress is a long, sleek sleeveless sheath. Over this sits is an overlay that is made up of a long wide panel of the same silk as the inner dress. This overlay drapes down the front and then again down the back in a long stark column. The front overlay has straps that extend out from each side and these wrap and hook to close between the inner sheath dress and the back overlay. Down the front there is an extensive beaded design. The neckline is wrapped in curving bands of silver toned beads that circle the neck like a bib. Below that three huge diamond shaped medallions run down the front with the top one being the largest and the bottom and middle slightly smaller then the one above. In the centre of each beaded diamond are a mix of deep pink and paler pink prong set crystal rhinestone surrounded by pearls. The silver needs have been sewn into place using a matching pink thread to the silk of the dress and this gives them a slight pink tone. It's genius. That elaborate front is like wearing a jewelled bib and it is extraordinary. All of the work on the dress has been done by hand and to couture standards. The dress is wearable and sound outside of is obvious discolourations. 

Fully lined in a pink silk with hand finishes throughout. The dress closes at the back with a hidden set metal zipper. The wrap around straps hook to close at the back and there is a series of hook & eye across the top of one shoulder. There appear to be some repairs to the beading near the neck and a small area of shattering to the silk on the inside back neck. The silk has faded in areas throughout. Please see the photos provided to get a good sense of the parts that have lightened. Sold as found and final sale. All hand done and made to Haute Couture standards. 

Bust: 18" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 54.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD2577

Reference Photos: Model in Pierre Cardin, 1969, 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.

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

I love this dress. It is made out of a very unusual fabric. It is a silk organza that has been covered on little tufts of gold that are made from a combination of a small bit of velvet with gold metallic thread that has been pulled through the velvet base to create each individual tuft. To contrast this and give the dress a touch more of a metallic feel Oscar then added a wide, flat, silver and gold metal thread ribbon. This panel of fabric runs down each side of the entire front and back of the dress, circles around the waist and also finishes each cuff. A band of that same ribbon is then wrapped all the way around the lower hem. The fabric is very light in weight so that the dress is very easy to wear. It has short capped sleeves and it buttons down the front to close. I love the exaggerated pointed collar and how the silver detailing is set onto the front bodice so that it curves in a bit to perfectly accent the bust. The waist nips in just a touch and then the skirt cascades to the floor gently widening out as it nears the hem. It is really a gorgeous dress and very well made. Excellent condition.

Fully lined in a black silk except for the sleeves. Closes at the front with domed buttons and snaps & hooks. The fabric of the buttons show slight fading. In person the silver and gold feel more true silver and gold then how it photoed. 

Shoulders: 15"
Bust: 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of bodice to centre of band at waist
Skirt: 44" from centre of band at waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3603

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 fantastic dress is from Karl Lagerfeld's own label. He launched his self-named label in 1984 and I believe this one is from the early 1990s. The aesthetic of his namesake brand combined a Parisian feel with a touch of rock-chic. A look that perfectly describes this dress

The dress is made from a black synthetic crepe that is light in weight and falls well once on an actual body. The cut is long and lean. Through the body the cut is fairly simple with a long, full length skirt, a simple bodice and straps that curve up and around each shoulder. The waist is highlighted by a panel of the same fabric and it is gathered  for a cummerbund effect, a signature theme that you find in many of his pieces. It is through the upper shoulder sand sleeves that the dress really comes to life. Here the straps form a  cage effect around you and then wrap around the back of your neck. The sleeves are suspended from a strap and this leaves a wide cut out all around the upper shoulder. I love how the edge of the top of the sleeves perfectly lines up with the upper edge of the bodice. Each sleeve has a wide panel of rectangular silver paillettes circling around the elbows and then again at the wrist. The cuff that peaks out from under the lowest band of silver is set so that it flares out slightly. An extra high slit up one side is the perfect finish. This dress really showcases Karl's genius with fabric and cut and is a wonderful example of his earlier work. Excellent condition with a note below

Unlined except for the front bodice panel which is lined in a black silk. It closes at the back with a hidden set zipper and buttons. The neck strap hooks to close behind the neck. Hidden set zippers in each cuff and boning through the bodice. I see one of the silver sequins missing and two that are cracked or broken. There is some light pilling on the fabric under each arm. Tagged a vintage 38

Sleeves: approx 25"
Bust: 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
Bodice: 15" from shoulder to dropped seam above hip
Skirt: 44" from waist to hem
Slit: 28" from hem up

Modern Sizing Equivalent: XS-SML

Item# DD3407

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 had moved to the US from Paris in 1937 and her designs always have that bit of a French feel to them. By 1949 she had been awarded a Coty and won one again in both 1951 and 1959. The 1959 win coincided with being inducted into the Coty Fashion Hall of Fame. She as 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 amply an African American model. The 1972 collection used variations of the floral motif all through it and I believe that this dress us from the spring of that year.

That gorgeous tulip print that has been done in a brilliant green set against a inky black backdrop is the first thing you see. The fabric is a fine semi-sheer cotton voile  that feels like it has a touch of silk in it as well. The fabric choice holds that brilliant color beautifully. The touch of transparency to it combined with setting it over the inner black lining gives it a bit of added depth and really allows the green to pop. The top is has simple lines with an almost box cut through the body. There is the subtlest of gathers along the shoulders for a little bit of detailing. The sleeves are a single unlined layer of the fabric and have elastics at each wrist. This allows then to have a slight balloon effect once it is on. It snaps to close down the front with hidden set snaps and they begin at about the bust area. This then tucks into the skirt whose front is cut in a kind of modified sarong. The front knot that you see is built into the front of the skirt's design and this leaves an little cut out above and below the ties. The skirt then falls from there in one long and lean line. A very high slit runs up the center of the skirt. This is one of those pieces that may look like nothing special off the body or on the dress form but once it is on an actual body it comes to life. It is an unusual design and quite forward for its time period. Excellent condition with one note to review below

Both pieces are lined with a semi-sheer black silk voile except for the sleeves. The top closes with a series of hidden set snaps at the front and elastic in each wrist. The skirt zips to close with a flat hook and eye on the waist band. There is a little tag that says front on the waist band and I believe that it is meant to flip in when on but could easily be worn like a normal band if you moved the little front tag. There is the teeniest of pulls to the fabric above the first snap of the top. With the print and where it is it is negligible. Please see the last photo after the shot of the label 

Top
Sleeves: 25"
Shoulders: 14.5"
Bust-hips: 18" flat across from side seam to side seam
Length: 25" from neck to hem

Skirt
Waist: 13" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 44" from waist to hem
Slit: 25" from hem up

Modern Sizing Equivalent: XS-SML

Item# DD3397

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