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

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

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

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

Modern Sizing Equivalent: XS-MED

Item# DD3115

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

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

The Balmain transformation definitely began while under the tutelage of Christophe Decarnin. He was the designer to bring 'more hard rock and punk' to the label, which has continued to the present day under Olivier Rousteing. The review from Vogue that year stated: 'Was it just coincidence that Christophe Decarnin showed his Balmain collection in the same room—the swimming pool at the Ritz—that Gianni Versace used for his couture spectaculars? There was certainly an almost Gianni-like gaggle of fans jostling outside, and a heated buzz of anticipation in the house for the man whose frank embrace of rock-chick bling, rounded "tennis ball"-shouldered jackets, and elaborate jeans have shot him to the position of No. 1 most copied designer in the space of two seasons. The choice of venue only added to the sense of expectation heaped on Decarnin's performance as fashion's latest appointed savior of good-time, high-sparkle, downright sexy dressing.... The cult peaked-shoulder Balmain jacket was reiterated in force: same signature shape, now manifested as a leather biker as well as a tuxedo jacket, and often paired with new drapey harem pants or skinny jean-cut black trousers. Every look was thrust into deep-cuffed suede boots with a stack of silver buckles running up the side. What is interesting is that just this past season this high 'Pagoda' shoulder was shown in the latest Balmain and Balenciaga runways for the Spring 2021 season. None of them hit the same mark as this does with its additional embellishments. I love this one and it is a very collectible piece of future vintage and is certainly important for the person archiving important pieces now. 

The jacket is made out of a black cotton velvet and this fabric choice gives it a rich edgy feel while allowing the exact shape intended to be kept. It has an almost sculptural feel to it. The shoulders are extremely strong and set in high peaks shaped by  extensive padding sculpted underneath. The sleeves fall from there and as you get closer to the piece you see how the fabric has been pieced together and seamed using proper couture techniques so that they fall perfectly. The bodice of the jacket is nipped in at the waist to give contrast to the amazing shoulders. This is all done by vertical seaming and shaping. Set inside the front edge is a lingerie inspired panel that hooks to close like a corset. This is a stunning detail that is hidden like a little secret from all but the wearer when the jacket is closed. Around the neck and running down the front is a raw edged silk tulle detailing that has a wide band of glass rhinestones, metal studs and silver chain set the full length of the jacket. Where it reaches the lower hem of the jacket it extends past another 11 inches to end in a raw edged tulle ribbon and chains. It is an incredible piece and you can see on the runway shots and video just how incredible it moves and sits on the body. It appears to have been worn very little if at all. Excellent condition 

Fully lined in a black textured fabric and closes down the front with metal hook & eye as shown. It is tagged a modern Balmain 40. It appears to have never been worn or worn very little. Padded and sculpted shoulders

Sleeves: 21"
Shoulders: inset and approx 15" inside
Bust: to 17" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Length: 22" from neck to hem and the embellishments extend down past that 11"

Modern Sizing Equivalent: SML-MED

Item# S927

Reference Photo: Sasha Pivovarova for Fall 2009 Balmain Runway, Look 17.

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 1993 Oscar de la Renta took over as Creative Director at Balmain where he designed the Haute Couture collections until 2002. The house had been floundering at that point and he had a huge impact on the reviving the sales of the couture pieces, mainly by catering to private clients, much like Balmain had originally. The runway photo that we found shows the dress layered over a printed pant but all of the subsequent references of it match the set to the one we have here with the pants in the same striped silk as the top piece. The twin of this set was a part of the 2016 ‘Oscar de la Renta: The Retrospective’ exhibition at de Young Museum, San Francisco, curated by André Leon Talley where it is referred to as being 'evening pyjamas'. The exhibit was broken into different themed galleries and this dress was a part of the garden themed section. Oscar was an avid gardener and the works in this section took inspiration from that life long passion. And it holds an extra special significance because the one shown in the exhibit was loaned to the museum by Annette de la Renta, Oscar's wife and muse, giving it an extra layer of personal connection to its provenance. The dress also appears in the book 'Oscar de la Renta: His Legendary World of Style' by Talley. The Met Museum also holds one in their permanent collections and then this one is the third.

In an interesting twist, one of the other dresses that was a part of the garden section of the exhibit was a striped OLDR dress from 1999 and my client had a that dress as well. It is listing along with this one today. It is incredible coincidence to have both dresses in at the same time with that shared bit of exhibit history behind them and both are exceptionally beautiful.

It is extraordinary to think that Oscar never produced a Haute Couture line under his own label and these few short years at Balmain gives us a chance to see just how talented he really was at all levels. Like most Haute Couture, this is a set that only truly comes to life when it is on an actual body. No matter how good it looks in the photos, the impact it has in real life and how it moves once on is undeniably beautiful. The fabric that both piece are made from is a fine chine silk taffeta that hearkens back to the 18th century with its washed pale blue striping. All of the edges are finished in that same fabric but for the edges it has been tightly knife pleated. These form a wide pleated ruffle all around the collar, down the front and around each cuff. One pale baby pink stripe runs along the edge of the ruffle for a magical bit of colour against the blue. That pink is then picked up on each hand made button that runs down the front and is set on each cuff. The buttons are amazing. They are hand made and they each have a tiny, perfect sprig of hand embroidered pink flower splayed across their tops. Under the evening coat, are a pair of silk taffeta pants in the same fabric. The pants are cut very simply with a flat front and no banding at the waist. They run in a slightly tapered cigarette shape and land just about the ankle depending on your height. Over this is that amazing evening coat that has the lines of a formal court dress worked into its cut. It is created with a nod to the decadence of the eighteenth century with a high pleated collar and softly defined shoulders. The sleeves are long and slim, ending in an elaborate ruffled cuff. It skims over the bodice and tapers in at the waist. The buttons to close it run from the collar to the waist at the front. From that point under the bottom button the front is completely open so that when you walk you see the pants underneath. The back of the coat is a work of art. The skirt trails out behind you, falling from that curved horizontal seam at the waist where the fabric is gathered in soft folds. It is tremendously full and when you walk it causes the skirt to billow out behind you. Haute Couture is always about the details and I love that for the seam that runs across the low back, Oscar used a fine pink silk piping to define the seam and where the gathers of the lower skirting are set. It is the perfect detail to tie in with the pink at the front. This is everything you want to see in a Haute Couture piece; elegance, refinement and a dash of coquetry. It is ornate but sophisticated and feels wonderfully light and perfectly suited to his love of nature and botanical themes. “A garden is probably the most spiritual and pure of joys. It’s a communion with nature and beauty in the most simple and fundamental form.”– Oscar de la Renta. It appears to have never been worn or worn very little. Excellent condition. 

Both pieces are unlined and all the interior work is done by hand to Haute Couture standards. The pants close with a hidden set side zipper. There is a built in gusset that is pristine. The evening coat/dress closes with a hand set zipper and then a panel that snaps into place over that with silk, hand covered snaps. Hand made, light shoulder pads. A series of hand embroidered buttons down the front. The inner waist stay hooks to close and you could adjust the hooks if needed or wear it unhooked if you needed the extra room. Each cuff zips to close with a hidden set zipper and has three of the same buttons as decoration. I see one pinhead mar near a front button and a nick out of the fabric near the seam under the arm. One inner seam on either side looks like it was slightly adjusted. There is an extra button sewn to an inner seam. Proper Couture tags on both pieces and the coat one has its couture tape underneath numbered 173 470. It appears to have been worn very little if at all. Sourced from the original couture client 

Evening Coat Dress
Sleeves: 23.5"
Shoulders: 15.25"
Bust: to 19" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam, inner waist stay hooks at 14"
Hips: open
Length: 56" from neck to shortest point of the front hem, 62" to longest point of the back hem

Pant
Waist: 15" flat across from side seam to side seam
Hips: 21" flat across from side seam to side seam
Length: 39.5" from top of bodice to waist
Inseam: 28" from inner seam to hem

Modern Sizing Equivalent: SML-MED

Item# DD3568

Reference Photos: (1) 1998 Balmain Silk taffeta coat and pants from the book "Oscar de la Renta: His Legendary World of Style" by Andre Leon Talley.  /  (2) 1998 Balmain Ensemble from The MET Collection Online.  /  (3-4) Spring 1998 Balmain Haute Couture Runway. / (5-6) Photos from the ‘Oscar de la Renta: The Retrospective’ exhibition at de Young Museum, San Francisco. Curated by André Leon Talley.  /  (7) Photo from the book "Oscar De La Renta: The Retrospective" by Jennifer Park and Molly Sorkin.

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

This was a key piece from the 2015 Balmain Resort collection. This collection created a frenzy for the pieces offered and this skirt in particular sold out and was wait listed world wide. I think everyone wanted one and almost every brand out there made a copy of it. The skirt has never been worn so is showroom fresh.  It has that curved and fitted cut that Balmain is known for and has the added dimension and texture created by what it is made out of. The denim is heavy distressed denim. This gives the skirt an extra dimension and depth that it would not have otherwise. It is cut to sit high up on the waist and is fitted to hug your hips. At the back is the signature Balmain chunky zipper. The front has pockets on each hip and large gold domed buttons run down each side. It has all its original tags still attached and has never been worn. Excellent condition.

Unlined and closes at the back with the zipper you see. Tagged a modern 40. Unworn.

Waist: 14.5" flat across from side seam to side seam
Hips: 17.5" flat across from side seam to side seam
Length: 17.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# S916

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

This was a key piece from the 2015 Balmain Resort collection and its twin was Look 29 on the runway. The skirt has never been worn and it still has all of its original tags. This collection created a frenzy for the pieces offered and this skirt in particular sold out and was wait listed world wide. It has that curved and fitted cut that Balmain is known for and has the added dimension and texture created by what it is made out of. The black and white stripes that you see are a raffia feeling material that is set in horizontal rows. This gives the skirt an extra dimension and depth that it would not have otherwise. It is cut to sit high up on the waist and is fitted to hug your hips. At the back is the signature Balmain chunky zipper. It has all its original tags still attached and has never been worn. Excellent condition.

Fully lined with their signature black ribbed fabric and closes at the back with the zipper you see. Tagged a modern 40. All original tags attached including an attached StyleBop return tag. Unworn.

Waist: 13" flat across from side seam to side seam
Hips: 17.5" flat across from side seam to side seam
Length: 23" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# S913

Reference Photos: (1) Resort 2015 Balmain Collection, Look 29.  /  (2-3) Erica Pesolini, Paris Fashion Week, Fall 2015.

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 spectacular bold silhouette Balmain dress by Olivier Rousteing. The fabric is great. It's just heavy enough to hold the shape and structure that the dress has but without feeling thick or too structured. The shoulders have Rousteing's signature bold and sharp shape and the sleeves taper to the wrist from there. The fabric on the skirt is draped in towards the center front so that you get the effect that the hips are wrapped in it. The front bodice also is wrapped down and into that center knot giving the illusion of an even smaller waist. The bodice of the dress has a long open keyholes at the front and this is balanced by a high neckline. At the back, the Balmain signature chunky zipper runs down the back. It is spectacular and sexy and a collectible both now and as a future vintage piece. It appears to have never been worn. Excellent condition.

Unlined and closes at the back with the signature chunky brass Balmain zipper. Padding in shoulders. Appears unworn. Tagged a modern Balmain 40. The fabric does have some stretch

Sleeves: 27.5"
Shoulders: to 17" due to the shoulder pads that extend beyond the natural shoulder
Bust: 17-18" flat across from side seam to side seam
Waist: 13.5-15" flat across from side seam to side seam
Hips: 16-18" flat across from side seam to side seam
Bodice: 17" from neck to waist
Skirt: 19" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3347

Reference Photo: Cherie, Owner of Shrimpton Couture.

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

This exquisite Pierre Balmain Haute Couture dress is a stunning and very rare example of what the house was producing during this time period. It is true Haute Couture and has been entirely made by hand to Haute Couture standards. I had originally dated it to the Fall 1954 collection but after posting it was sent the image of Renée Breton wearing the full gown length version for Spring 1956. I have left the earlier images as I found it interesting to see how his design progressed to get to this 1956 style and thought the person buying it might as well. You can see the resemblance to the  Fall 1954 "Ecume" dress combined with elements from the "Clorinde" dress from that same season and how these eventually become the silhouette you see here. There is also an even closer resemblance to that famous photo of the model and dress captured back stage by Mark Shaw that season. You can easily imagine how this dress was created through the seasons from the different elements of these and Balmain tweaking the details with the end result being this beautiful piece.

The dress is constructed from a hand made ivory Chantilly French lace that is outlined with a fine silk cording. The cord has been meticulously hand applied to the lace. It follows the outline of, and defines each delicate motif within the lace's pattern. The lace portion of the dress begins just under the high and defined waist and the entire lower portion of the exterior layer of the dress is done in that stunning lace. I love how at the very hem the lace edges have been meticulously hand stitched into a silk organza so that the hem is perfectly straight. The bodice is kept with a more simple silk jersey fabric to contrast the high level of workmanship that the lace has. It is strapless and the cups are shaped and molded underneath the jersey. The silk has been is hand draped so that is sits  in soft folds over the bust. The folds are set on a slight angle and one section in the middle has been used to create a wide open loop. Through that opening winds a wide black silk taffeta sash that drapes down at the front to follow the curved angle of the bust line and then ties at the back. I have tied it into a more formal bow but you could also leave this to trail down the back. The use of the contrasting black ribbon adds both a simple and romantic touch and also visually cinches in the waist area even more then the interior corseting already does. The skirt billows out to a beautiful fullness beneath the tapered in waist. The shape and fullness that you see is built into the skirt through layers and layers of silk netting and tulle underneath. The inner construction of the dress is absolutely exquisite with a boned and corseted interior made entirely made by hand and to Haute Couture standards. Under the skirt there are a three full layers of silk tulle and netted underskirts to achieve the shape that you see. I did not add any additional crinolines here but you could create an even fuller shape by adding a separate underskirt if you wished. It is a beautiful example of the very early work that the House of Balmain was doing and a wonderful example of the golden years of Haute Couture. Excellent condition with some small notes to review below.

Fully lined in a ivory silk with extensive boning, inner construction and skirting. It closes with an intricate combination of the Balmain signature, multiple chest and waist stays and two zippers. One to close the inner corset and the other to close the exterior dress The inner layers of the skirt are attached with some having addition half layers at their hems for additional volume. The innermost skirt is interlined with netting and the built in corset is made of lingerie netting and hand done padding. It is boned with metal boning. There is perhaps some very minor darkening to the lace here and there. Very small areas here and there of darkening to the inner bodice. On the exterior bodice there are areas of light yellowing that run across the sides. It is very faint and once on I think you would never even notice it as they are across the fabric and in the folds mainly. None of this compromises the strength or integrity of the dress and it is strong and wearable with the care. All of the photos to show the stunning details of the dress are before the shot of the label and the shots to show the sides of the bodice mentioned above are after the label shot. It really is in remarkable condition. Proper Haute Couture label and tape underneath, though the writing on the couture tape under the label has faded to almost nothing.

Bust: 15" flat across the back from side seam to side seam with cups built in that would fit an A or smaller
Waist: 11.5-12" flat across from side seam to side seam
Hips: open
Bodice: 5" from top of bodice to seam under front cups
Skirt: 36" from seam under the cups to hem

Modern Sizing Equivalent: XXS-XS

Item# DD3344

Reference Photos: (1) Renée Breton in Pierre Balmain, 1956. Photographed by Georges Saad.  /  (2) Model Ann Farrar in Pierre Balmain A/W 1954-55 "Ecume" Dress. Photo by Philippe Pottier.  /  (3) Backstage at Balmain, 1954. Photo by Mark Shaw.  /  (4) Marie-Thérèse in an evening dress called "Clorinde" by Pierre Balmain, Fall/Winter 1954-1955 Collection.

This garment is sent in clean, as found condition and is odor free. Thoroughly checked over before shipping, it will be ready to wear upon arrival.

This wonderful gown with its exquisitely beaded bodice and attached cape is a numbered Haute Couture piece designed by Pierre Balmain. Both pieces would have been  made entirely by hand at the Paris atelier and the bead work done by Lesage. We found a similar gown from that same Couture collection that was featured in Harper's Bazaar that year It is an extraordinary example of the work being done during this time period of the label's history and is very beautiful.

The impact that this gown has cannot be denied. You instantly get the feel of Ancient Greece and yet is has a touch of modernity to it as well. It dress is made out of a very fine ivory silk chiffon. The neckline is high and the skirt flows to the floor with two layers of of silk chiffon over an interior silk skirt. The bodice is covered with hand placed glass tube beads that is most likely the workmanship of the famed Lesage ateliers. Eash bead has been carefully placed by hand and then they are mixed with a real metal gold thread that has been used to outline the design created with the beads. More of that same metallic thread is used to create a gold and ivory braiding that runs down the front and back and highlight the neckline. The cape detail on this one is unusual and really what makes it extra special. This cape is made of that same high end ivory silk chiffon. It ties at the front neck but it also is secured to the shoulders so that it stays perfectly in place no matter how you move, stand or sit. It is attached by tiny snaps, hidden under the inside collar of the neckline. There are endless couture level details put into this one and the workmanship throughout is perfectly and meticulously done. It is an amazing example of the fine workmanship and attention to detail of Haute Couture. and it is a true piece of fashion history. Excellent condition with one small note to review below

The dress is fully lined in an ivory through the bodice and innermost skirt. The skirt has two layers of silk over the inner lining. There may be the occasional loose or missing bead or thread. Both pieces have their numbered tag present under the main label and both bear the same number of 764027. Hand finished. It closes with a hand set, back painted metal zipper. I see one tiny yellowed spot on one tie and a pinpoint of a spot on the cape. There are two teeny smudges on the lower portion of the skirt. None of these detract - I am just being super picky. There is a slight darkening to the silk around the waist under the seam. I have photoed it all the way around and you can see that after the photos of the Couture label.

Bust: 17" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Bodice: 15" from top of bodice to waist
Skirt: 42" from waist to hem
Cape: 57"

Modern Sizing Equivalent: SML-MED

Item# DD2945

Reference Photo: Gleb Derujinsky in Pierre Balmain, Harper's Bazaar, April 1961.

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

From the Spring 2015 collection comes this fabulous little mini from Balmain. On the runway it was shown in a longer length but was also produced as this micro mini for retail. With the craze for micro short pieces still going strong it almost feels more relevant now then it did when it came out. The skirt is made from a denim feeling thick cotton canvas fabric that both holds its shape and shapes the wearer. The design is a graphic white on black and the white is placed to highlight the lines of the skirt and the cures of the girl wearing it. It is cut to sit higher up on the waist to really give you a curved feel. It cinches in at the waist and flares out slightly as it nears the hem. I love the stark lines and the two pockets that sit on either hip. Unworn and with original tags. Excellent condition

Fully lined in a black ribbed silk and closes with their signature chunky back zipper. Tagged a 40. New and unworn with original hang tag still attached

Waist: 14.5" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 18" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# S836

Reference photos: (1) Balmain Spring 2015, Look 18, model: Andreea Diaconu.  /  (2) Erica Pelosini in Balmain, Miami, 2015.

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

This is a stunning Pierre Balmain suit that is constructed from a deep blue suiting fabric that has a touch of texture to it. I believe that is a mix of a fine wool and silk and this combination gives it enough weight to hold the line but without it feeling bulky or too heavy for a modern wardrobe. We found similar pieces from the 1960 collection and have included those here. The suit has a beautiful sculptural feel with an exaggerated and dramatic swing back cut to the jacket. From the from, when the jacket is buttoned, it nips in slightly at the waist to give it just a hint of a curved in shape. The back of the jacket is gorgeous. It dramatically swings out from the shoulders in a sweep of volume that is wonderful. It is slit with a two button detailed closure and the slit runs from just below the mid-back to the hem. This tops a little A-line skirt whose simplicity perfectly balances the volume at the back of the jacket.  It is immaculately made. The seaming on the inside jacket is fantastic and both pieces have the hand finishing one excepts from a true couture piece. Behind the Balmain label is the the numbered tape showing its Haute Couture origins. Excellent condition with one small note below to read about the buttons.

Both pieces are fully lined in a navy silk. The lining in the skirt is a soft, heavy weight silk satin and the lining in the jacket a more structured silk taffeta. The jacket closes with buttons down the front and has two decorative buttons at the back. The skirt closes with a fine, back metal zipper and flat hook & eye on the waist band. Completely hand finished. Numbered behind the main label. Note the buttons are original and show chips along their edges. These are the original buttons so have been left as found.

Jacket
Sleeves: 24"
Shoulders: 16.5" across
Bust: to 22" flat across the back from seam to seam
Waist: open
Length: 22" from neck to hem

The back vent is actually open under the overlapped fabric to the fist button - 14" above the hem

Skirt
Waist: 15" flat across the back from seam to seam
Hips: 20" flat across the back from seam to seam
Length: 24" from waist to hem

Modern Sizing equivalent: SML-MED

Item# DD1089

Reference Photos: (1) Pierre Balmain in L'Officiel, 1960.  /  (2) Pierre Balmain in Vogue, March 1960.

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

Karlie Kloss wore the twin of this dress to the Balmain after party in Paris that season and the photos instantly went world wide. This was a peice that was available exclusively through Farfetch so very few were produced making it even harder to get. This one still has its farfetch tags and has never been worn. Olivier Rousteing said of this collection to Vogue: "Welcome to my jungle," Olivier Rousteing pronounced backstage, declaring this fearless mash-up of safari chic and hip-hop style to be his most personal collection ever. "I'm French, I'm black, and I'm proud to be at Balmain, but this is a message of freedom and globalism."

The dress is made from a leopard print jersey that is cut supermodel long. It has a open back dress that leaves an expanse of skin bare. It has the signature Balmain chunky zipper at the back that sits low below the waist, becoming a design feature in itself. The halterneck sits high at the front with a gilded and embossed lion head snaps fastening it at the back of the neck. I love the black detailing that sweeps up and around the neckline and forms a criss-cross pattern around the waist. This draws the eye in and acts both as a fabulous detailing to the dress and also it gives the illusion of a waist cinching belt and makes you look even tinier through the waist then you are. The hem is cut longer at the back then the front for a trained effect asymmetric hem and a super model long, sweeping floor-length that features a thigh-high split at the front. Original tags still attached. Excellent condition

Has a full black stretch jersey inner lining. Closes at the back of the neck with snaps and at the low back waist with a zipper. Tagged a 42 but Balmain fits small. Original tags attached. Never worn.

Bust: no true side seams
Waist: 12-13" flat across from side seam to side seam
Hips: open
Bodice: approx 16 " from top of bodice to waist
Skirt: 48" from waist to front hem, extends another 20" past that at the back
Front slit: 33" from hem to top of slit

Modern Sizing Equivalent: SML-MED

Item# DD2970

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

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

Haute Couture does not always have to be an elaborate, over the top piece. Sometimes the beauty of couture lies in the restraint of the line and the outward appearance of simplicity that actually hides the hours of handwork put into each piece. This wonderful dress is numbered Haute Couture and would have been made by hand in the Paris atelier. The attention to detail shown in every stitch is breathtaking and to the highest standards. The silk crepe used is of the highest possible grade and the gives the dress its beautiful drape and fall. The top is cut into a wide V and is cleverly constructed to look like a separate top over the long skirt. It is of course, all one piece. Each sleeves is cut so that it puffs out slightly above the fitted cuffs. The skirt is a masterpiece of pleat work. Each individual pleat is perfectly matched to its neighbor and inset around the waist with all the work hidden under the overlap of the bodice. It is truly a brilliantly cut dress and when you see it in person and see that every stitch is done by hand, including the finish to all the interior seams, you will be astounded at the level of craftsmanship and care put into the construction. A masterpiece of museum quality condition. Excellent condition.

Fully lined in a matching silk satin and is completely made by hand as the parameters of Haute Couture dictates. It closes with a back, handset painted metal zipper. The cuffs snap into place under three silk covered decorative buttons. Haute Couture tape under the tag with number 157888. Note that in person the color is a more garnet toned red then how it photoed. It looks like it was worn very little, if at all.

Sleeves: 27"
Shoulders: 14"
Bust: 18-19.5" flat across from side seam to side seam
Waist: to 17" flat across from side seam to side seam
Hips at inner lining: to 20" flat across from side seam to side seam
Bodice: 15.5" from shoulder to hidden waist seam
Skirt: 39.5" from hidden waist seam to hem

Modern Sizing Equivalent: SML-MED

Item# DD2913

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