Madame Gres' work has had profound effects on Haute Couture and her influence still resonates to this day. Her attention to detail, master draping techniques and respect for the female form is unparalleled. She was known for designing and creating garments directly on her models and this became a signature of her work. She opened her first atelier, La Maison Alix in 1932. A partnership briefly changed the house's name to Alix Barton and then the label went to simply Alix. In 1942 she married, and the label made its last change to became Madame Gres, which was a partial anagram of Serge, her husband's first name. Her work spans over five full decades with the vast majority of it, with the exception of a short-lived RTW line begun in 1980, dedicated solely to creating Haute Couture. She is one of the greatest couturiers of our time and her pieces are very rare and hard to find.

This Haute Couture dress is exceptional. It comes to me directly from the family that the other recent Gres pieces have come from. Her son told me that 'Madame Grès would let her wear many dresses as she was size model and those she really liked she purchased afterwards.' This was one of those that she kept and it is a very special piece. He remembers her wearing this around 1960 to some galas. This is also the time period that she would have had that relationship with Madame Gres. In the course of researching the dress we found that the 1958 and 1959 collections in particular were ones that featured braided details and cape elements like this dress has. I have included here some examples other dresses by Gres that share some of those common elements to this one from those years for you to see.

This is one of the most stunning dresses I have ever had in the shop. It is made from a biased cut silk chiffon with a small abstract print on it. From a distance it gives you that beautiful mottled red effect. Then as you look closer at the fabric you see that there is a deeper red, coral, soft green and a blue that all work together to form a pretty abstract floral print. The dress itself is simple and minimalist. It falls from the shoulder with wide straps that are made from hand gathering the silk chiffon and hand stitching them in these incredible little curved sections to create the illusion that the silk has been braided. These curve over the shoulders and then follow the neckline for a square off feel at the front. At the back they run down to the mid back and then run across in a straight line there as well for that same squared off finish there. The body of the dress falls from under that detailing in a swoop of bias cut silk. By the time it reaches the hem it is quite full. When you are standing still you get a soft column feel but then when you move you get incredible movement. The dress is lined in a layer of biased cut ivory silk and this gives the top layer and that pattern more depth. The silk is as light as air. Every seam on the dress has been finished by hand. Working with a silk chiffon as fine as this makes that an incredible achievement that would've taken countless hours of handwork. The dress is stunning on its own but this is a set and it comes with a incredible matching caped piece that has such  an unusual and beautiful design. Two wide panels done in a single layer of silk chiffon are sewn together at the top of the neck at the back and then they hook together at the front. The panels fall over each shoulder to the floor and just past the hem of the dress. It is incredibly light in weight. This allows the slightest bit of air to pick them up so that they waft and float around you as you move. If that was not already beautiful enough the cape is topped by an oversized hood made of the same silk chiffon. It is cut extra long at the back and in such a way that when it is off the head the ends twirl on their own. I have taken a photo of this for you because it is just such an incredible detail. It's something that happens naturally and on its own as a result of how the silk has been placed and sewn into place. When the hood is up it falls gently around the face to frame it. The dress is in incredible condition and appears to have never been worn. It is literally a work of art and one of the most special things I've ever had in the shop. This is truly an extraordinary piece of modern couture and is exceptionally beautiful. No matter how good you think it looks in the photos, it is better in person. Excellent condition.

The dress is lined in a fine ivory silk. There is handmade soft inner corset set inside and under the ivory layer and it closes with its own zipper. The ivory silk lining closes over that with its own zipper and then the outer layer of the dress closes with hidden set tiny snaps. The cape hooks to close at the front. An inner waist stay hooks to close with metal couture hooks. I see a very tiny and finely done seam at the base of where it snaps to close at the front and I'm not sure if it is there deliberately or if it was a repair at one time but it's invisible when the dress is on. Please see the photo after the label shot. It appears to have been worn very little if at all. The dress is finished to Haute Couture standards and entirely made by hand. The proper Haute Couture label is present. The bias cut of the dress does allow for a range of measurements and I have listed those below to the comfortable range laying flat where that applies. Note that due to the value of this dress returns will not be accepted so that it ships only one time.

Inner waist stay: 12.5" flat across from side seam to side seam
Inner hips: to 23" flat across from side seam to side seam
Length: 58" from top of shoulder  to hem
Cape: 65" from neck to hem and will come up a touch when on the shoulders

Modern Sizing Equivalent: XS-SML

Item# DD4254

Reference Photos: (1) 1958 Madame Gres Evening Dress in The MET Collection. /  (2) Madame Gres evening dress, L'officiel de la mode, 1958.  /  (3) 1959 Madame Gres Evening Dress in the Chicago History Museum 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.

Madame Gres' work has had profound effects on Haute Couture and her influence still resonates to this day. Her attention to detail, master draping techniques and respect for the female form is unparalleled. She was known for designing and creating garments directly on her models and this became a signature of her work. She opened her first atelier, La Maison Alix in 1932. A partnership briefly changed the house's name to Alix Barton and then the label went to simply Alix. In 1942 she married, and the label made its last change to became Madame Gres, which was a partial anagram of Serge, her husband's first name. Her work spans over five full decades with the vast majority of it, with the exception of a short-lived RTW line begun in 1980, dedicated solely to creating Haute Couture. She is one of the greatest couturiers of our time and her pieces are very rare and hard to find. This set is from approximately the early to mid-seventies and it is fabulous.

This is an amazing piece of vintage. It is a set that consist of two pieces. The bottom part is a wide legged jersey pant and the legs are extremely full. The jersey is a soft wool fabric that she used extensively during this time period and it has a soft finish to it that looks and feels heavenly. The pants are banded at the top with a wide gathered swath of the same jersey but in a soft pale yellow for contrast to the camel colour below. It hooks to the one side and there's some built-in boning to keep it wide and full around the waist. I love how it is set into the pants on a bit of a curve. This lets one side be a little wider then the other. Below that the pants fall in extreme volume to the floor. They are so generously cut that by the time they reach their hem they are a full 64" around. Incredible. The top has almost the exact opposite to the feel of the pants with its metallic finish. The contrast is perfection. The top is made out of a beautiful silk that has actual metal thread woven through it. The silk is printed with its own design and then the metal thread is woven onto that in a floral design to get a print on print feel. The neckline is scooped and top itself is cropped. Darts run down on an angle to create room for the bust. The sleeves are long and simple. At the back you see the magic of this piece. Instead of a zipper or button closure, the top actually ties into place with ties made of the same fabric. These sit on an angle that starts at the neckline, runs down to one side and then straight down to the hem. This leaves a little bare expanse of skin that is so perfectly sensual. I have shot the top un-tucked so you could see it in full, but for the rest of the photos I tucked it into the band around the waist of the pants and I think that it looks quite incredible either way. The appropriate Couture tags are present in both pieces and the top has an additional handwritten numbered tag inside. This is an incredible and rare opportunity to own a beautiful piece of her work and it is that much more versatile with the two pieces since you can mix and match. Excellent condition with a small note below.

Both peices are unlined and completely finished by hand. The pants close with hook and eye at the band and a zipper under that. There's a small repair to the jersey inside the inner structure of the band and then one of the fold along one side. Neither is seen once on. The top ties to close at the back.

Top
Sleeves: 21"
Shoulders: 14"
Bust: 17" flat across from side seam to side seam
Bottom seam: approx 12-13" flat across from side seam to side seam
Length: 12" from shoulder to hem

Pants
Waist: 12" at top of band and narrows to 11.5" flat across from side seam to side seam of true waist
Band: 3.5" high on the boned hook closure side and the other side will widen to approx 9"
Hips: open
Length: 40" from true waist to hem
Inseam: 29"
Rise: 15" from true waist to inner seam

Modern Sizing Equivalent: XXS-XS

Item# DD4182

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

Madame Gres' work has had profound effects on Haute Couture and her influence still resonates to this day. Her attention to detail, master draping techniques and respect for the female form is unparalleled. She was known for designing and creating garments directly on her models and this became a signature of her work. She opened her first atelier, La Maison Alix in 1932. A partnership briefly changed the house's name to Alix Barton and then the label went to simply Alix. In 1942 she married, and the label made its last change to became Madame Gres, which was a partial anagram of Serge, her husband's first name. Her work spans over five full decades with the vast majority of it, with the exception of a short-lived RTW line begun in 1980, dedicated solely to creating Haute Couture. She is one of the greatest couturiers of our time and her pieces are very rare and hard to find. This one is exceptional

I have dated this dress based on information from my client and on a variation of this dress held in the collection of the Fine Arts Museum of San Francisco. I have included a reference photo of that dress and you can see the similarity in cut and fabric. The collection notes on the museum held dress even mention a matching cape. This 1970s period is about the time period where she turned her attention from using primarily jerseys to incorporating more taffeta and silks into her work. That and the fact that the Museum dress also has a matching cape feels too coincidental for it not to be from that same collection. It is also interesting to note that the Museum held dress has been exhibited twice. Once for the "New Look to Now", at de Young Museum, 1989-91; and it was lent to the Metropolitan Museum of Art, for "Mme. Gres" in 1994. 

Both pieces are made from a fine silk taffeta dyed to a deep green colour. This fabric choice keeps the weight of the dress down despite its volume and the fabric also holds the intended shape beautifully. The bodice has no sleeves and is cut so that the shoulders slightly extend off the shoulder with this subtle little curved line. The bodice skims over the body in a long column to the dropped seam at the top of the hip. There is actually an inner skirt under the full top skirt that falls right to the floor with a high side slit up one side that allows you to be able to walk in it. This also gives a very unexpected flash of leg when you move or sit in the dress. The top skirt is pure drama. It is cut on a curve that comes up at the front and then swoops down to the floor and falls behind you at the back for a slight trained feel. That curving line is almost sculptural and gives the dress a different feel from every angle that you see it from. The outer skirt is set to fall away from the body with lots of volume and shape but the fabric is so light that you also get movement and a floating feel when you move. This was achieved by gathering the taffeta into soft pleats all along the curved seam there. Underneath the skirt there is a second shorter ruffled peplum layer that supports the fabric and holds the shape. Over this is a matching silk taffeta cape that is almost monastic in its simple lines. It simply hooks into place at the neck with one tiny hook and then falls beautifully over the shoulders. The cape flows and extends down the back mimicking the curved line of the skirt. At the front it hits right where the skirt begins and this is a clever way to extend the eye downwards. It is cut so that it falls in soft rounded folds that pick up the soft pleats of the skirt below it and ties everything together beautifully.  It is magnificent. Both pieces are completely made by hand. The proper Madame Gres Haute Couture label is present. This is an exceptional gown. I love it. This is a rare opportunity to own an original Haute Couture Madame Gres. It is an extraordinary thing to see in real life. Excellent condition with a minor note below.

Both pieces are unlined with hand done couture seams throughout. The dress closes with a off-set back zipper that is camouflaged along a vertical seam. It then closes along the top of one shoulder with a series of hooks and snaps. The cape has one single hook & eye to close. Inner peplum that supports the skirt as described above. I see some very tiny marks on the bodice. Please see the photos after the label shot. There is a very faint perfume smell on the dress from a fitting for a potential award show. I did not want to clean it again as its extremely faint and not an issue. The dress should fit a range of sizes since it is not meant to be very fitted.

Dress
Bust: to 18.5" flat across from side seam to side seam
Natural waist: 16" flat across from side seam to side seam
Hips at dropped seam: 20" flat across from side seam to side seam
Natural Hips: to 22" flat across from side seam to side seam
Bodice: 23" from neck to dropped seam where over skirt begins
Inner skirt: 37" from dropped seam where over skirt begins to hem
Total Length: 60" from neck to hem of inner dress, 67" to longest point of the back of the trained top skirt 
Slit: 20" from the hem up

Cape: will fit any size and falls to 30" a its longest point at the back

Modern Sizing Equivalent: SML-MED

Item# DD3227

Reference Photos: 1977 Madame Gres Dress from the Fine Arts Museum of San Francisco.  /  Cherie, Owner of Shrimpton Couture.

This garment has been professionally steamed and sold in, clean, as found condition. Thoroughly checked over before shipping, it will be ready to wear upon arrival.