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

This suit is exceptional. It is actually two pieces. A skirt that has an attached upper body lining and then a top that zippers into place over that. The inner part of the dress has the skirt attached and suspended from a sleeveless inner top made out of an early silky rayon lining. This is a technique that you no longer see done because of the extra fabric it uses and the longer zipper requirements, both of which add to production cost and time. But this was the proper way to have a skirt hang perfectly during this time period and be the most comfortable for the wearer. The top just skims over you and then the skirt is cut in a sleek little flare that skims over the hips and flares out with hidden flat inverted pleats at each side for volume. The actual width around the bottom hem stops just short of a full circle skirt. This is all achieved by the cut because there is no pleat work done around the waist. This would have taken a tremendous amount of fabric to achieve and wouldn't be done in modern production. Around the waist the silk lies flat and neat. It is very flattering once on the body. When you stand still the skirt lays flat and smooth but when you move you get an incredible burst of movement and volume. Over that goes the little top that closes at the back with a zipper. It is cut to perfectly fall just over where the skirt underneath begins. It is cut with the slightest of curving in at the waist. It is beautifully constructed and it is cut to fit and flatter the body. The shoulders are soft and the sleeves are capped and simple. The neckline is set in a wide cut scoop. A large bow has been set off to one side at the back and partially snaps over the zipper. At the front it is gathered in slightly towards the middle and there is a little strip of fabric at the center for detailing. The fabric is a very high end silk twill dyed to a beautiful bright fuchsia pink. A white design is woven through the silk and it is stunning to see in person. It is chic and elegant yet still feels glamorous because of that stunning colour and fabric. Excellent condition with a note below

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3847

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

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

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

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

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

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

Modern Sizing Equivalent: XS-SML

Item# DD3875

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3841

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

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

I recently sold the near twin to this coat and am happy to have one more for you. These are the only two I have ever seen like this. This one has a slightly different collar and has a bit more grey tones through the cream parts. It is a stunning example of the fur pieces being produced at this point in Christian Dior's history. It is made out of a sheepskin that has been brushed out so that is is soft and fluffy. You can see in areas where the undercoat is very curly. The color is a combination of creamy ivory mixed with a pale caramel that has an almost pink cast to it in some areas. You can also see some deep grey hairs here and there on this one too. It is a little more pastel feeling in person then how it photoed. The fur is very soft soft and very fluffy. It is done in rows of fur that are tightly set up against the next row above and below. The collar on this one is a little neater then the other one I had and wraps around the neck to create a gorgeous frame around the face. These were almost certainly made to order which would have allowed the client to make small changes to it like the shape of the collar. It is cut in a classic pea coat style with a flared bottom. There is a fur hook at the neck and pockets sit along the horizontal row on each hip. The sleeves are cut straight and full. It is a stunning choice for the girl who believes that vintage fur is a sustainable choice. Excellent condition with a minor note below to review.

Fully lined in a deep taupe silk that is embroidered with the Christian Dior name throughout and with the former owner's name - Clarissa. There is one fur hook at the neck and the clip part of one further down but no loop on the other side. Pockets on each hip. There is slight wear at some of the common points of contact. The edges of the sleeves, collar, pocket tops, the inner edge of the coat, but all are minor. Please see the photos provided. It is fresh back from the cleaners. 

Sleeves: 22.5"
Shoulders: approx 15-16" but no inner defined seam
Bust: to 18" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: 21" flat across from side seam to side seam
Length: 40" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# C565

Reference Photos: (1) Models in Christian Dior fur coats, L'officiel Magazine, 1971.  /  (2) Christian Dior Coat from The MET Collection.  /  1960s-70s Christian Dior Coat from The Met Collection Online.

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3611

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

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

The Fall 1958 season was Yves Saint Laurent's second collection for the house of Dior. It was titled the 'Line Courbe - Silhouette en Arc' which translates to Curved Line - Arched Silhouette. In the book 'Dior Catwalk'  they have abnb excerpt from the original show notes that explain the inspiration behind the silhouettes on the show. They stated that 'The structure of this season's fashions is inspired by one of the fundamental lines of architecture, curved convex lines... the definitive curve of the well-marked rounded shoulder line, the softened curves of skirts and the semi-circle of Palladio's arcade as key characteristics.' Vogue said that the proportions 'were the newest look in Paris. This show is also spacial because it was only one of three shows in the entire Dior history (the first in 1954 under Christian Dior himself and the third decades pater for a cruise show), that after it was show in Paris it was then brought in its entirety to the Blenheim Palace. There is was presented to raise funds for the British Red Cross and the collection was presented to Princess Margaret and guests at Blenheim Palace. It was also the piece from the collection that season that was chosen for the cheeky ad campaign. In the campaign a model in the coat holds a a minature version of herself on her palm wearing the coat. The coat also appears in the book 'Dior: Yves Saint Laurent 1958-1960' which is a coffee table sized book that is part of a series on each of the designers for Dior. The book series celebrates the houses 70th anniversary. The coat is in exceptional condition and it is an extraordinarily beautiful piece of fashion history. Yves Saint Laurent was at Dior for only a short time period; creating only six couture collections while there, which makes piece from his reign especially rare and an important part of not only Dior's history but of Yves as a designer as well since this would represent some of his very earliest work.  

The coat is made from a heavy, deep blue silk with a satin finish. The coat would have be considered to have been a ‘Petite Theatre’, a more formal evening coat, during this time period. A neat rounded collar wraps in a curve around the neck and closes just off to the side. This sits above a double row of buttons. The buttons have been hand made and covered in the same silk as the coat. Each button slips into a perfectly made button hole and all the work is done by hand. Pockets are hidden along the curving seams that are inset sightly towards the front of the coat so that the vertical line stays clean and simple. The back has tremendous volume and this fullness is created by a soft inverted pleat that opens from just under the back collar and extends down to the hem. Besides the volume this creates it also directly relates to the shapes that Yves intended the pieces in this collection to have. From the side, this gives it a bit of caped back feel and would have layered perfectly over the fuller backed skirts of the dresses in this collection. The silk that has been used is of the highest possible quality and the colour is an even darker shade of blue in person then how it photoed here. It appears to have been worn very little and is in outstanding condition. The proper numbered Haute Couture label is present and the coat is made entirely by hand to the standards demanded of Haute Couture. This is an exquisite example of Yves Saint Laurent's very earliest work with as a couturier and as the head of Dior. It is an outstanding piece of Haute Couture from one of the most important houses of our modern era. Excellent condition

Fully lined in hand set blue silk. It buttons to close at the front with silk covered buttons and has two hooks inside to secure in place. Hand done buttons and proper button holes. Pockets are hidden at each hip along the seams. The coat looks to have been worn very little if it all. The coat is meant to fit slightly oversized so should fit a variety of sizes. The proper Haute Couture label is present and it is numbered. Done with Haute Couture construction techniques.

Sleeves: 16"
Slightly dropped shoulders: 16"
Bust-hips: open
Length: 38.5" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# DD3601

Reference Photos: (1) Christian Dior ad, 1958.  /  (2-3) "Dior: Yves Saint Laurent 1958-1960", pages 108-109, published by Assoulin. 

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

I have held this in my archives for several years now and I think that it is a stunning example of the fur pieces being produced at this point in Dior's history. I am no expert on furs but believe this it is mink. The color is a rich deep chocolate that is so dark that at first glance it almost appears to be a black. The fur is supple and soft and very shiny. It is applied on to the coat in series of matching rectangles that each measure approx 5" x 7" and you get a bit of a border where each fur piece meets another. This gives the coat an added bit of texture and a subtle pattern. It is cut in an almost trench coat style with a more structured, flared bottom to it then a soft trench would have. Big, unusual silver buttons run in a double row down the front. Slanted slit pockets sit on each hip and and it has its original matching tie belt that you can cinch to give the coat shape. The sleeves are cut straight and full and the collar is a classic notched wide collar.  It has been properly stored and cared for and appears to have been worn very little if at all. No splitting, issues or shedding. Excellent condition with a minor note below to review.

Fully lined in a black silky satin and closes with the buttons down the front and has an attached tie inside. Slip pockets on each hip and one hidden along the inside edge at the front. Matching tie belt. I see no bald spots or shedding, the pelts are supple, soft and shiny. there is slight wear at some of the common points - edges of the sleeves. the inner edge, but it is very minor. For a vintage fur from such an important designer, I still rate this as near excellent. The fur has no odd odor, is still supple and is stable with no signs of excessive shedding that would indicate that it is breaking down. 

Sleeves: 24"
Shoulders: 15.5"
Bust: to 20" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: 21" flat across from side seam to side seam
Length: 44" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# C484

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

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