I know I don't normally carry men's items but this little vest was so chic that I could not resist it. Plus it was dated to the day 4-2-20 and that just made it that much more special. It is a beautiful example of menswear and it can easily be gender free with its simple but striking cut. The front is curved down at the front with a sleek, tacked down collar that follows that curve. Silver metal buttons close it at the front and there are two little pockets on either side. The back is a black silk and the interior an ivory silk. It has some patina but is sound and still very smart.

Fully lined in a striped ivory silk and buttons to close. I suspect the buttons have been replaced at some point. There are some marks on the inside from improper storage and some vert slight areas of thinning to the back silk. Overall its amazing and for its age in tremendous condition for something just under 100 years old

Note that antique and twenties pieces are final sale. They will be packed exceedingly well and we only sell pieces that will stand up to the stress of shipping, however, having pieces potentially shipped multiple times through multiple customs and countries is too hard on garments that are historically important and deserve to be treated with love and care. Please purchase accordingly.

Chest: 20" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Length: 23" from neck to longest point at the front, 20" from the neck to the back hem

Modern Sizing Equivalent: MED-LRG

Item# S888

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 in a green and blue colorway walked the spring 1993 runway and I have included that footage here for you to see it on and in action.  It is very representative of that season and I am very pleased to have this example in the shop.

The dress is made from a crisp cotton that has enough weight and structure to it to perfectly fall into the line that Yves desired it to have. The dress perfectly represents this time period and you can see the transition from the stronger, more angular shaped of the eighties slowly moving into simpler shapes for the 1990s. The vivid color ways from the 1980s are still there, but the shape is softening and becoming simpler and less of a sharp angle from the shoulder. It is cut to skim over the body. On the runway it was worn belted for more shape and you could easily do that to this one. The base is a bright pink that in person is a little softer then how it photoed. This is then edged with a wide grosgrain ribbon in turquoise. The neckline is cut in a high V and the dress crosses over itself at the front. It begins to button at the base of the V and then closes sown that one side. The buttons are large and each is a combination of a gold toned metal with poured red enamel. It is amazing on the body and a rare find. Excellent condition with on tiny note to review below

Fully lined in a matching pink silk and closes with the buttons as seen. Padding in each shoulder. Tagged a vintage YSL 38. There is a small, faint mark on one shoulder which I have photoed and shown after the label photo. It appears to have been let out a touch along the hips at some point.

Shoulders: 15.5"
Bust: 19" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: 19.5" flat across from side seam to side seam
Length: 36.5" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD3319

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

Vogue said of the Spring 2013 Emilio Pucci presentation; "When Peter Dundas inherited this historic Florentine house—famous since the 1960s for its kaleidoscopic prints—he made reworked archival patterns a major part of his story line. Last season and this one, though, he's started inching away from them. These days, the label is just as well known for Dundas' confident, louche brand of glamour as it once was for its founder's graphic swirls and geometries. For Spring, Dundas filtered his style signatures through the lens of Vietnam. The designer ... showed bomber jackets (some embroidered with the house logo), sheer veiling (and) tattoo embroideries."

On the runway, the dragon motif was used on several pieces including a similar dress to this one, but in black. This dress was one of the pieces produced based on the amazing embroidery work seen in the collection that season. The dress is a simple shaft through the body. This straight and easy silhouette makes it simple to just throw on and go. The sleeves have tremendous volume and the pouf and balloon out above their buttoned cuffs. They are cut extra long which only emphasizes their shape. At the back there is a long, curved slit below the buttoned neck. This is where you get that sexy glimpse of skin. The base fabric is a white crepe and onto this is the elaborate embroidery that you see with fantastical dragons and mythical creatures covering the entire surface of the dress including the sleeves. The colors used range from a crisp white thread to metallic gold, copper, black and a pale pink. It is gorgeous on and even has pockets hidden along each side of the hips. Excellent condition with a small note below to review.

Unlined and slips over the head to wear. Buttons at each cuff and at the back of the neck. Tagged a modern Pucci US10, UK12, FR40, IT44. Pockets alomg each hip. Note that there is some signs of grubbiness to the inner collar and along the top edge of the collar. The teeniest touch of color run around the head of the front bird. Please review the final two photos after the label shot. Priced well under current value as a result.

Sleeves: 26"
Slightly dropped shoulders: 16"
Bust: to 21" flat across from side seam to side seam
Waist: to 20" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 37" from neck to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3315

Reference Photo: S/S 2013 Emilio Pucci Runway Collection, Look 32. Model: Jourdan Dunn.

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

When Alexa Chung announced that she was doing a collaboration with AG Jeans, the fashion crowd immediately took notice. When the collection was released the pieces sold out worldwide. This little denim mini was the stand out piece from that capsule. The dress is in immaculate condition and appears to have never been worn. It is made from a stretch denim so is extremely comfortable to wear. It closes with a series of snaps down the front, each embossed with the "Alexa Chung for AG" circling around a little flower. That same signature flower is embroidered on one of the pockets at the bust. Both of the pockets at the front also close with that same silver press snaps as do each cuff. Its a very easy to wear and flattering dress and the fact that it completely opens lets it play double duty as a layering piece. Excellent condition

Unlined ad close with the snaps at the front as seen. Snaps on each pocket and each cuff. Tagged a brand size large. The fabric has some give and stretch. As new condition

Sleeves: 24"
Shoulders: 15"
Bust: 18-20" flat across from side seam to side seam
Waist: 15-16" flat across from side seam to side seam
Hips: 20-21" flat across from side seam to side seam
Length: 37" from neck to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3312

Reference Photo: Alexa Chung for AG. Photo by Adriano Goldschmied, 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.

From 2004 until 2012, Stefano Pilati was the head designer of Yves Saint Laurent for 8 years. He did two more collections after the Resort 2012 one. Vogue said of this collection that Pilati had succumbed to the call of the sea for resiort sending "out a cruise collection that was as croisière as it gets, complete with lanyard necklaces, rope-print dresses, and sailor jackets and pants. Afterward, the designer pointed out that Yves Saint Laurent did a nautical collection of his own around 1982. "He showed it with sheer stockings and pumps, and I loved the 'why not?' factor," Pilati said" This dress was Look 23 of the collection and one of the ones that had a definitive nod to the original YSL archives in its lines.

The dress is ain a pretty crepe fabric that has a blue floral print covering it. It has the feel of Yves infamous 'Scandal collection of 1971 in its cut that has a string nod to the forties. The sleeves are capped and gathered along a bad that runs down their tops before buttoning in a cuff detail. The front plunges quite low and ties in two places along that plunge. There is actually a double panel of fabric that extends out from each side to make those ties which is unusual and gives a bit thicker knot for coverage. The bust and waist just skim over the body with no seaming present until you hit the low ruffle of the skirt. This low set skirt has volume so that when you move it moves and gives the dress its flirty feel. Excellent condition.

Unlined and closes with a hidden set side zipper. Ties at the front and each sleeve has a button to close. Tagged a YSL FR40 but cut generously for that sizing.

Inset shoulders: 14"
Bust: 18" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 38" from neck to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3313

Reference Photos: (1) Resort 2012 Yves Saint Laurent Runway Collection, Look 23, Model Janice Alida.  /  (2) Cherie, Owner of Shrimpton Couture. (Cherie is also wearing a Recent Prada Jacket)

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 darling little dress is from the days when founder Consuelo Castiglioni was the head of the company still and acting Creative Director. The brand launched in 1994 and quickly became known for it innovative prints and the way she mixed and matched colors. This is classic Marni from this time period. The print was featured on the runway in two looks and then for production to the stores they utilized the fabric in this dress as well. It is one of her very easy to wear smock pieces with sleeves that run just past the elbow and a bodice set above a high waist. The collar is neat and pointed and this tops a plunge that runs right to the seam under the bust. There is a bit of a curved yoke at the front and the back as well as a few well placed knife pleats for volume and detail. The dress falls in a loose baby doll, smock feel around and below that. It is very easy to wear and travel with and is a great example of her work during this time period. Plus it has pockets. Excellent condition

Unlined and slips on to wear. Buttons at each cuff and pockets along the side seams. Tagged a 38

Sleeves: 18"
Slightly dropped shoulders: 15.5"
Bust: 17" flat across from side seam to side seam
Waist: 17.5" flat across from side seam to side seam
Hips: open
Length: 35" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD3314

Reference Photos: S/S 2006 Marni Runway. Look 2 (Model: Kim Noora) & Look 4 (Model: Gemma Ward).

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 used for the 1993 ad campaign that season shot by Helmut Newton. I was also able to find a wonderful shot of it being worn by muse, Loulou de la Falaise. In addition I have included the runway footage from that 1993 presentation. This was one of the iconic pieces of that season and I am very pleased to have found this example.

The dress is made from a chunky knit that gives it enough structure for it to keep that slightly oversized, boxy shape that Yves desired it to have. The dress perfectly represents this time period and you can see the transition from the stronger, more angular shaped of the eighties slowly moving into simpler, shorter shapes for the 1990s. It is short so can play double duty as both a tunic or a micro mini if you dare. The color combination is amazing. He has paired a bright coral orange with a deep periwinkle. Mixed in with those two yarns is a woven gold yarn and those little flashes of metallic give it that perfect tough of high glamour. The cut is a simple boxed shape. It slips over the head with a wide set coal neckline and boxy shape through then body. The neckline is slightly scooped and set in a wide crew neck. Each sleeve is cut wide and extra long, adding to the oversized feel it has. I love the fringing detail that finished the collar, he,m and each sleeve. These are an extension of the color used in the pattern above it so are a mix o the gold, orange and purple. It is amazing on the body and a rare find. Excellent condition

Unlined and slips on to wear. It appears to have been worn very little if at all.It is meant to been worn oversized and the loose and easy cut should fit a variety of sizes. The knit has some give

Sleeves: approx 29" from natural shoulder
Dropped shoulders: 21"
Bust: 23-25" flat across from side seam to side seam
Waist-hips: 21-23" flat across from side seam to side seam
Length: 31" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# DD3306

Reference Photos: (1-2) F/W 1993 Yves Saint Laurent by Helmut Newton (featured in the ad that year).  /  (3) Loulou de la Falaise.

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

This dress is from the Fall 2013 collection from the house of Valentino. During this time period both Maria Grazia Chiuri and Pierpaolo Piccioli were acting Creative Directors. It was the finale dress of the runway presentation. The runway pieces were shown and styled with removable collars and cuffs as mentioned in the review below. Vogue's Nicole Phelps reviewed the collection and said in part:

Vermeer's Girl With a Pearl Earring stared out from Maria Grazia Chiuri and Pierpaolo Piccioli's mood board this season. At a preview, the Valentino designers were making connections between what they called the severe yet sensual portraits of the Dutch masters and their exquisite new collection for Fall. "We wanted to capture women in a private moment," Chiuri said. "In this show, the face is very important. Making a study of white collars, Chiuri and Piccioli added them to many of their familiar looks. The collars came in laser-cut leather encrusted with beads or in "Calvinist" plain cotton piqué, and they decorated the simplest pieces. This is Valentino we're talking about, of course, so in the end there was no lack of intricacy in the details. There were gowns galore, many of unsurpassed beauty, and some too beautiful not to bring up. But to prattle on describing them would be to defeat the point. They weren't the news; the austere grace was.

This dress is one of the best example of that 'austere grace' that Phelps describes above. It was also the gown chosen to close the show and this is always an important piece to look to as it leaves us with the final impression that the designer wished us to have of the show. It is almost stark and severe in its simplicity and it is gorgeous. It is made from a fine cotton with just a touch of silk in it. The choice of cotton gives it the weight, slight stiffening and structure that the fabric needs to hold its shape while the addition of the silk gives the fabric a lightness and very subtle touch of sheen. The cut is minimalist with a high neck with a small and neat collar. The bodice is fitted and the sleeves are long and slim. There is a hidden set button at the end of each sleeve and I love how this button is set towards the inner lining so that not even here is the line broken in even the slightest of ways. The skirt is maxi length and widens out as it nears the floor. Beginning at the waist and running right to the hem is a long, deep inverted pleat that gives the skirt width, structure and volume. At the back, the hem curves down and is cut a few inches longer then it is at the front. It is amazing on and and is finished with all the meticulous attention paid to it that you would expect from the Valentino label. It appears to  have never been worn or worn very little. Excellent condition

Fully lined in a black silk throughout and has a hidden set zipper at the back. Tagged a Valentino 42

Sleeves: approx 22"
Shoulders: approx 15" but no true defined seams
Bust: to 18" flat across from side seam to side seam
Waist: 16.5" flat across from side seam to side seam
Hips: open
Length: 61" from neck to front hem, 65" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD3300

Reference Photos: (1) F/W 2013 Valentino Runway Finale Look. Model: Maud Welzen.  /  (2) 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 is a lovely wedding gown by Alber Elbaz for Lanvin that we found reference to in a blog from 2012. The gown is just gorgeous and I love that is is not a traditional white but rather used a combination of a soft blush nude silk at the top and the skirt is an almost soft pastel ivory grey. The top is a fine silk in that soft pinky nude that is suspended from the shoulders with straps that have been detailed with pearls and crystals. These are set on a fine silk netting for a romantic and delicate feel. At the back they trail down past the edge of the top for a pretty touch. The waist is detailed with a wide silk grosgrain ribbon and this extends around to the back where it becomes a large bow that has long ties that fall almost to the hem of the back skirt. The skirt is amazing and very full. The front falls in a sleek column that gains more width as it nears the hem. The back is gathered in large pleats and all of the volume you see is from the way the skirt is cut and gathered combined with the fabric that was used. I did not add any additional crinolines under this for the photos, though if wanted it to be even fuller you easily could wear on underneath. The back is trained and has the most beautiful lines as it trails out and back. Excellent condition with one small note to review below

The top is a double layer of the silk and the skirt is unlined. It closes with the signature exposed Lanvin zipper at the back. The attached ribbon at the waist can be tied as you wish. It appears to be unworn but there is some scuffing and grubbiness to the back hem, most likely from being stored on a rack. I photoed the worst spot that is on the very end of the train. It may come out with additional cleaning or could be shortened slightly to eliminate. Note the colors have a slightly more pink/blush undertone then how it photoed. The colors are better in person and softer

Bust: to 16" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: open
Bodice: 14.5" from top of bodice to waist
Skirt: 50" from waist to front hem, 65" from waist to back hem

Modern Sizing Equivalent: XS-SML

Item# DD3297

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 photoed with Yves Saint Laurent himself, backstage during the Spring runway show by Roxanne Lowit. This was one of the main pieces of that season and I am very pleased to have found this example.

The dress is made from a gold wool and metallic thread brocade that has an embroidered gold design woven through the fabric. This is done so that it has a slightly raised feel to it and gives the dress the beautiful texture that it has. The two parts of the design also allow for a play on the tones of gold used and the raised parts have a more metallic, lame feel to them which makes the brocade pattern really pop. The dress perfectly represents this time period and you can see the transition from the opulence and over the top feel of the eighties slowly moving into simpler, sleeker shapes for the 1990s. That touch of excess from the 1980s is still there through that gold fabrication, but the shape is getting sleeker and more powerful in feel. The neckline is a simple scoop. Vertical seaming runs down the front and back on to create the slightest of shape through the waist but there is no break in the line that a waist seam would have made. The skirt is cut slim and straight. The sleeves end just below the elbow. The cut is restrained and simple so that the amazing gold fabric takes center stage.  It is amazing on the body. Excellent condition

Fully lined in a gold silky rayon through the body and the sleeves are unlined. It closes with a back, hidden set zipper. Light padding in each shoulder. Tagged a vintage YSL 40 and has a generous cut through the waist and bust

Shoulders: 17"
Bust: 19" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: 19.25" flat across from side seam to side seam
Length: 36" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3295

Reference Photos: Yves Saint Laurent, Avenue Marceau à Paris, March 1991. Photo by Roxanne Lowit.

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 beading technique used on this dress is distinctive and it was this feature that led me to find the date of the collection. A dress from this same collection with a similar beading was photoed by Guy Bourdin for Vogue and a dress similar to that one was auctioned off at Sotherbys with the final hammer being 3000 euros. The dress I have here was actually donated to me by the owner who simply wanted it to find a great home. If this is sold at any time during this month, I have decided to donate the proceeds from this sale to Breast Cancer research in the spirit of paying it forward. Examples of Karl's work during this time period are held in museums around the world and are rare finds. Their place in fashion history is even more so with his recent passing.

This dress is wonderful. In person it is even better then how it photoed, if that is possible, as it really molds to the body underneath it. The cut is simple but sexy with a wrapped feel to the bodice and a long skirt that falls to the floor. The dress is made out of a fine black silk crepe that has a slight give to it that allows it to fit to the body like it does. Onto the silk is that spectacular gold beaded design. The gold glass tube beads are hand applied and set so they climb up the bodice on the one side up and around the neckline and then wrap over the waist and trail down the side in two long curving points. This amazing design really emphasizes your curves. The neckline is high and the back curves and dips down quite low to leave the entire back bare. I love the wrapped illusion created by the way the beading is applied over the bodice and how the neckline curves up and around the neck in such a graceful line. The dress then skims over the hips and flares out once it reaches the hem with a touch of a fishtail effect at the back and a side vent that really allows it to flare out as you walk. It is magic once on an actual body. Excellent condition

Partially lined on the same black silk chiffon through the bodice and the skirt is unlined. It closes with a side painted metal zipper. Hand finished interior to demi-couture standards.

Bust: 15-17" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Bodice: approx 17" from neck to waist
Skirt: 44.5" from waist to front hem, 46" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD3293

Reference Photos: F/W 1973-74 Chloe by Guy Bourdin for French Vogue.

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 love when I get versions of this dress in the shop and I am happy to have also found documentation of it with not just one, but two ads. The ads verify the date of this to be from the 1980-1981 time period. Versions of this dress have been worn by countless celebrities. Lady Gaga wore a version, as have girls like Rachel Zoe & Nicole Richie and every girl that has bought one through me has loved it. It is one of those fail safe pieces that you know is going to work every time you put it on. When I do get one in they tend to fly out the door. The dress is insanely sexy with a halter style front that plunges to the waist and a back that is left completely open and bare. It is made of a black liquid jersey that feels amazing on and has the added bonus of traveling very well. It is the kind of piece that you can throw into your suit case and slip on with either flats or heels when you reach some far off destination and be instantly ready to go. The front has a high slit that shows when you walk or sit and I love the signature wide top stitch gold belt at the waist. The belt is attached all the way around the back and then ties at the front to cinch you in exactly to where you want. Excellent condition.

Unlined and slips on. Ties at the back of the neck and at the waist. Elastic through the front portion of the waist. The easy fit allows it work on a variety of sizes. The gold is a true bright gold in person

Bust: variable as there are no side seams
Partial elastic waist: 13-18" flat across from side seam to side seam
Hips: open
Bodice: approx 16" from natural neck to waist but can be tied to adjust the length if needed
Skirt: 44" from top of back waist to hem
Front slit: 25" from the hem up

Modern Sizing Equivalent: SML-LRG

Item# DD3291

Reference Photos: (1) Bill Tice for Swirl Ad. Vogue US, September 1980. / (2) Bill Tice Ad. Vogue US, September 1981.

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 am very pleased to begin presenting a collection of Bill Blass pieces from a woman who was a close personal friend of Mr. Blass for many years. Many of these pieces were custom made or tweaked specifically for her and all of them are in exquisite condition, having been stored and cared for properly over the years. These are rare and hard to find example of his work from the late 1970s and into the 1980s. Some may be the only version of its kind that were made. The family would also like it to be known that their portion of the proceeds from each sale will be donated to charity.

This gorgeous full length sequin skirt and amazing silk organza top set is a wonderful example of the work that Blass was doing in this time period. We were able to date it exactly with a family photo that my client shared with me. The skirt is a work of art with thousands of sequins hand applied onto a silk chiffon. The sequins range from a deep green to a navy and then to a glossy black. These are applied in a checked pattern and the combination of the three colors that he used gives it a extra layer of depth. They also catch the light fantastically and in person it has far more life and impact then my photos could ever convey. It has an attached, wide silk taffeta sash at the waist that is finished with a large bow. The skirt wraps and secures along the waist to close. The front edge curves up towards the bow for the prettiest of lines. It falls to the floor in a sleek column but the wrap really allows you movement and the occasion flash of leg when you sit or stride. The choice of the silk chiffon that the sequins are applied, with a second layer of silk crepe behind that, keep it from being see though between the sequins while still keeping it light in weight. The top is amazing. It is made out of a black semi-transparent silk organza and the volume that he has created in it is at a couture level. It is cut more straight through the body so that you can wear it tucked in, loose and easy, or with a belt to really cinch it in. The main body of the top is a double layer of the silk so that you have just enough opaqueness for it to not be scandalous but still feel light and airy. Each sleeve is tremendously full and voluminous and the cuffs are finished with a double ruffle of the same fabric. At the neck there are two ruffles above and below the collar and hidden under the front ruffle is a silk satin bow detail that you just get a glimpse of. A large ruffle  detail on each shoulder's top is the perfect finish. Having the two pieces makes it so versatile as you can wear it all together for the full Blass look, or mix and match with modern pieces from your wardrobe. It is beautifully made and wonderfully extravagant. Excellent condition

The skirt  has a second layer of silk crepe under the sequin later and it wraps to close with snaps and flat hook & eye at the waist. You could easily move the snaps and hooks up or down or the perfect fit. The top buttons down the back as seen. The attached sash at the waist closes with flat hook and eye.

Top
Sleeves: 24"
Shoulders: 15.5"
Bust: 19" flat across from side seam to side seam
Waist: 19" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 23" from waist to hem

Skirt
Waist: 14" flat across from side seam to side seam
Hips: 22" flat across from side seam to side seam, but will open more
Length: 43" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3288

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

Buro24 said of this collection "Black is the new black ...For Pre-Fall, Ricardo Tisci created a modern, graphic lineup with edgy undertones – all predominately black. Givenchy stuck to its core for its latest collection. The Italian designer also added some romance to the dark collection... as well as draped silhouettes, which came in the shape of lightweight evening gowns." This dress was shown in an ivory for the presentation, layered over a red tank. It was the closing look of the collection for that season.

This is the all black version that was put into production in addition to the ivory one and it is gorgeous with his distinctive edgy touches mixed with high femininity. It combines a liquid silk satin with a very fine Chantilly feeling lace. The lace is as light as a feather and is used extensively through the bodice. This is what gives it that beautiful and delicate transparency. It plunges into a V with straps that curve up and over the shoulders. Little silver rings break the line of the strap at the front. At the back they stay slim until they meet the low set back. The top also has an opaque inset at the front midriff and then the lace around that continues low around the hips and down each side of the skirt. The skirt is actually quite full so has a wonderful amount of movement when you move. More of that fine lace circles the hem. At the back there are two excessively long, wide ties in the same satin as the skirt. These are attached to either side of the back waist and tie at the back as you wish.  They can be tied up so they hang shorter or can even be done so that the ties trail down and behind you. It is a beautiful example of Ricardo's work while at Givenchy and will absolutely be a future collectable. Excellent condition

Unlined and closes at the back with a hidden set zipper under the a row of decorative buttons set at the low back. It appears to have never been worn or worn very little

Bust: 16" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Length: 60" from top of shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD3285

Reference Photo: Givenchy Pre-Fall 2015, Look 36.

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 am very pleased to begin presenting a collection of Bill Blass pieces from a woman who was a close personal friend of Mr. Blass for many years. Many of these pieces were custom made or tweaked specifically for her and all of them are in exquisite condition, having been stored and cared for properly over the years. These are rare and hard to find example of his work from the late 1970s and into the 1980s. Some may be the only version of its kind that were made. The family would also like it to be known that their portion of the proceeds from each sale will be donated to charity.

This gorgeous ball gown skirt and top set is a wonderful example of the work that Blass was doing in this time period. We were able to date it exactly with a family photo that my client shared with me. Additionally, a version of the skirt with a different top appeared in the September issue of Vogue that year on none other then Jerry Hall. The skirt is made out of a vivid hot pink silk satin that is edged in a wide black silk ribbon at the hem. The color in person is even better then how it photoed and has more depth and richness in real life. It has a detachable wide silk satin sash that has a large bow at the front and ties that trail almost to the hem of the skirt. The skirt is very full and I have styled it with a full length crinoline under the skirt for these shots (I also included a shot of it without so that you can see that it is still very full). The fullness that you see once it is sitting over the underskirt is all done through the way it is cut. The choice of the silk satin also helps it to hold the shape while still keeping it fairly light in weight. The top that goes with it is made out of a baby soft, light cashmere feeling wool that has a slight texture running through it. It is made with elastic through the waist which makes it insanely comfortable to wear. I love that you can wear it tucked in or with the hip peplum out and than add the belt for more shape to it regardless of which way you decide on.  Each sleeve is very full and voluminous. The cuffs end in a ruffle of the same fabric for a wonderful effect. The neckline is finished with that same ruffle and at the back it hooks into place down a long slit opening that runs from the neck to about midway down the back. You could probably even wear the top the other way around if you preferred. The volume and drama of the three pieces worn all together is amazing. Having the three pieces also makes it so versatile as you can wear it all together for the full Blass look, or mix and match with other modern pieces from your wardrobe. It is beautifully made and wonderfully extravagant. Excellent condition

The top is unlined and the skirt fully lined in a matching colored silk. The skirt closes with a metal and nylon zipper and a hook & eye at the waist. The top slips on with elastic through the waist. It has hook & eye down the back and each cuff buttons to close with a fabric covered button and loop. The sash closes with hook and eye.

Top
Sleeves: approx 26" with no defined shoulder seam
Bust: to 23" flat across from side seam to side seam
Elastic waist: 14-20" flat across from side seam to side seam
Length: approx 24" from neck to hem and the elastic waist falls at approx 17"

Skirt
Waist: 13.75" flat across from side seam to side seam
Hips: open
Length: 46" from waist to hem
Matching cummerbund: 30" from end to end and the hooks could easily be moved up or down as needed

Modern Sizing Equivalent: SML-MED

Item# DD3284

Reference Photos: (1) Jerry Hall in Bill Blass, Vogue US, September 1977. Photo by Chris Von Wagenheim.  /  (2) 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.

I am very pleased to begin presenting a collection of Bill Blass pieces from a woman who was a close personal friend of Mr. Blass for many years. Many of these pieces were custom made or tweaked specifically for her and all of them are in exquisite condition, having been stored and cared for properly over the years. These are rare and hard to find example of his work from the late 1970s and into the 1980s. Some may be the only version of its kind that were made. The family would also like it to be known that their portion of the proceeds from each sale will be donated to charity. 

This beautiful pale green chiffon dress by Bill Blass is absolutely stunning. It is from the Spring 1981 collection and I have included two reference photos of pieces held in Museum collections, one of a dress in this same color that was used throughout the collection that year, and a second with the same ruffle treatment. The dress is beautifully made and the closer you start to look at it the more you start to see the fine detailing on it. The work that would have gone into piecing this together using that fine silk chiffon is astounding. It is completely cut on the bias but also has defined seams so that you get the ease and movement of the bias cut through the skirt but with a defined shape. It slides over the body to define your curves but not in a tight or fitted kind of way. The neckline is a high and scooped. The bodice has two layers, an inner silk piece with tiny silk straps, and a chiffon over piece. Each sleeve is cut long and lean with two silk covered buttons at the wrist. The back hooks at the top of the neck and then over the inner lining leaving an open slit between the neck and the first button down. The waist is seamed for a touch of shape and you could easily add a belt if you wanted more definition. Below that, the skirt falls to the floor in a cascade of ruffles. It is all cut on the bias and it is deceptive as to just how much silk has been used on its construction. The ruffles are set vertically in strips and give a very pretty cascading effect. These vertical ruffles circle all the way around the skirt and this creates incredible movement. Once on, you feel like the silk is just floating around and over you. It is truly beautiful. Excellent condition with one small note below

Fully lined in an interior layer of a slightly deeper color green silk. It closes with a back zipper and then the silk chiffon layer close over that with snaps below the waist and hook & eye above. Each cuff has two silk covered buttons. Hand finishes. The color is absolutely fantastic and even better in person. It is a a touch paler green in person then how it photoed and I think it is even better. The fabric does have some give due to the bias cut but the waist seam is set. There is one tiny mark on the front bodice. Please review the photo after the label shot. 

Sleeves: 22"
Shoulders: 15"
Inner lining bust: 18" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Bodice: 16" from top of bodice to waist
Skirt: 43" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3280

Reference Photos: (1) Evening dress, 1981 by Bill Blass. Gift of Mrs. Ronald Reagan from the Classic Chicago Magazine.  /  (2) 1981 Bill Blass Dress from the Indianapolis Museum of Art 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.

This gorgeous little dress is a version of the all pink dress that walked the runway and was featured in the ad campaign on Linda Evangelista that year. The 1987 collection with its pink bows and accents is one of my favorites and I am very pleased to have this wonderful example in the shop.

This lovely little dress combines a black silk faille with the signature pink used throughout the collection that year. The fabric choice gives it structure and shape and also the volume that you see in the ruffle detailing that wraps around the waist and hips. The bodice is strapless and cut to curve in a modified sweetheart neckline. It is also lightly boned on the inside so already has shape built in. This curves in to skim over the waist and curves back out for the hips. It falls in a sheath past the hips with a final flaring out at the hem. The hem is not as dramatically cut as the runway version but also feels more wearable as a result. It is cut slightly longer at the back hem and I love how there is a matching dip at the back of the bodice so that there is an illusion of added length created. The pink ruffle is of course the star of the show and this is attached at the back waist and then wraps and dips down and around the lower hip on the other side. It is precisely folded and set so that is also flares slightly out. Where it meets at the back hem it extends into two long and wide panels that are tied. You can let them hang from a simple knot as I have shown it or create a more elaborate bow. It is fabulous. Excellent condition wot a very minor note below.

Fully lined in a black silk and closes with a side set zipper. It has a built in inner bodice that is lightly boned and shaped. Inner waist stay that hooks to close with a flat hook & eye. Tagged a 38 and has no give. There is the teeniest bit of fading to the pink along the fold edge on the one hip. Please review the photo after the label shot.

Bust: 15.5" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 47" from top of bodice to front hem, 49.5" to the back hem

Modern Sizing Equivalent: XXS-XS

Item# DD3276

Reference Photo: (1-2) S/S 1987 Yves Saint Laurent Runway.  /  (3) Linda Evangelista for Yves Saint Laurent, Vogue, March 1987.  /  (4) Linda Evangelista in Yves Saint Laurent, Vogue UK, March 1987. Photo by Hans Feurer.

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 collection was inspired by Zandra's trip to China. She came back with sketchbooks filled from her travels there and was particularly struck by "the trellises and fretwork used by the Chinese, framing everything, making squares, bordering each simple visual plane." This became the foundation for her 'Chinese Square" print that we see here on this dress. In between the angular print is her signature 'scribble heads' print that appeared in several earlier collections. The overdress part of this piece appears on page 158 of the book 'The Art of Zandra Rhodes with her catalogue identification of 79/89.

This is one of my favorite pieces by Zandra that I have had in the shop. The bold color combined with the historical significance of her work during this time period make it a string collection piece. The silk she has used for this dress is the red that she used throughout the collection that year. The shade was a very specific red that she developed and was based on the red that she fell in love during her trip. The outer layer of the dress is made from a red silk chiffon with a high rounded neckline that ties at the back. The sleeves fall to the elbow and I love how their shape is blocked out by the hand painted Chinese Squares print. Each sleeve is then finished with an edging of beads. More beads trim the edges around the panels that make up the top layer of the skirt. The bodice is cut loose and easy and is lined in silk. This inner silk lining at the top changes to a light jersey for the inner skirt. That jersey is then overlaid with a long printed silk panel that runs down the front and another down the back. At each hip there is a shorter panel of silk that ends just below the hip, somewhat like an exposed pannier. The way that these panels are set are a nod to the manner in which traditional Chinese skirts are constructed. Everything is attached at the elastic waist so that it just simply slips on. It is extremely easy to wear despite that it looks so highly structured and ornate. A remarkable and rare piece from one of her key collections. Excellent condition

The dress slips on the wear with an elastic waist and a tie at the back of the neck. Hand beaded and hand rolled hem. There are a couple of areas were the beads the edge the panels of the over skirt are missing or have lost their coating, but none so bad that you would notice unless specifically hunting for it.

Sleeves: 14" approx.
Shoulders: no defined seam
Bust: 18" flat across from side seam to side seam
Elastic waist: 11-15" flat across from side seam to side seam
Hips: 17-21" flat across from side seam to side seam
Bodice: 14" from neck to waist
Skirt: 42" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD2826

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 amazing blue silk Halston dress is a beautiful example of his earlier work. Halston was a master at combining function and ease but without sacrificing glamour. He did this with the very minimum of seaming. His pieces that were bias cut, like this one, seem to almost be shapeless and not very exciting when you see them on the hanger. But, once you slip them on, they drape and settle into place the way they were intended and the transformation is remarkable. There is true genius on their simple cuts and they are addictive. A similar dress in cut was photoed for Vogue in 1974 and that reference photo is included here.

This dress is entirely cut on the bias with that minimal seaming signature of his best work. The color is a beautiful royal blue that is flattering on most skin tones. It is feather light and you are barely conscious of wearing anything once it is on. The cut through the body is extremely loose and easy, running in one long bias cut sheath to the floor. It is very long and I love the slits that run up each side of the dress. The bias cut gives the dress the slightest of shape as it drapes around your body. The neckline is cut into a V for some skin to show. The neckline, the sleeve edges and those slits on the skirt are all hand rolled and stitched. The work to get this as perfect as it is would have been astounding - there is no trickier fabric to hand stitch then this. Each sleeve is soft and full, the dress laid out flat is a T-shape and the sleeves when laid out are blocked out. Once on these fall in soft and flattering folds. I am pleased to have found a runway reference photo from the show that same year and also a photo of a similar version that was worn by Lauren Hutton. Excellent condition

The dress is constructed from one single layer of a liquid bias cut silk. It is entirely bias cut and just slips over the head to wear. Hand rolled and finished edges. The easy cut will allow it to fit a full range of sizes.

Sleeves: 18" from dropped shoulder seam
Slightly dropped shoulders: 18"
Bust: to 19-21" flat across from side seam to side seam
Waist: to 21" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Length: 60" from top of bodice to dropped waist
Slits: 20" from hem up

Modern Sizing Equivalent: SML-LRG

Item# DD3271

Reference Photos: (1) Model Naomi Sims for Halston Runway Show, 68th St Salon, December 7, 1971. Photo: James Hamilton.  /  (2) Karen Graham, Halston Silk Caftan, Vogue, November 1971. Photo: Irving Penn.  /  (3-4) 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.

In 1923, Jacques Heim took over the family business and started producing a line of couture that used original fabrics, most notably, those of Sonia Delauney. In 1930 the official Haute Couture label, Jacques Heim, was born, Jacques remained at the helm of his business until his death in 1967. The label was shuttered by 1969. This dress was sold to my client many years ago from the famed couture vintage seller Didier Ludot and was dated by him to that final year of Heim's presence at the label. I have included a photo provided to me by the owner.

I love the classic but still mod cut of this dress that reflects what was happening in fashion during this time period. It is cut to skim over your curves of the bodice and then the cut out under that sits higher up under the bust. The waist nips in and the skirt is cut so that it flares out as it reaches the hem. The base of the dress is a fine black velvet with a dense pile so it almost seems to absorb the light. This is in perfect contrast to the transparent panel set around the waist and that details each cuff. These panels are a fine black silk chiffon that is intricately hand detailed with glossy black bead work and those amazing and huge glossy acrylic pieces you see, It is simplicity mixed with a masterful seaming and extraordinary detailing. His pieces are very rare from this rime period and this is a real treat to have in the shop. Excellent condition with a note on the bead work below

Fully lined in a fine black silk and closes with a back painted metal zipper. Hand finished throughout. All of the bead work and those tremendous glossy, thin acrylic pieces are hand set. All but two of the large plastic cut outs have breaks. All are fully intact with no pieces missing but they have cracked over the years. It is for this fact that I have priced it lower but I would like to emphasize that it is perfectly wearable and there are no huge gaps or missing pieces. The cracks are so fine that when on everything sits really well still. I have included a couple of closer shots of the breaks after the label photo.

Sleeves: 21"
Shoulders: 15'
Bust: 17" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Bodice: 11.5" from shoulder to top seam of transparent band
Transparent band: 4.25"
Skirt: 17.25" from bottom seam of transparent band to hem

Modern Sizing Equivalent: SML-MED

Item# DD3269

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 am very pleased to begin presenting a collection of Bill Blass pieces from a woman who was a close personal friend of Mr. Blass for many years. Many of these pieces were custom made or tweaked specifically for her and all of them are in exquisite condition, having been stored and cared for properly over the years. These are rare and hard to find example of his work from the late 1970s and into the 1980s. Some may be the only version of its kind that were made. The family would also like it to be known that their portion of the proceeds from each sale will be donated to charity.

This, like the gold suit that I also have from this collection, is one of Bill's pieces that was very well documented during the year it was created. Casey Ribocoff was photoed wearing the jacket alongside of Bill himself and it was also photoed and featured in Vogue. The lines of the suit are beautiful and I am glad to have found reference photos that give you an idea of just how great it is once on. The jacket is heavily sequined and the dense covering of the black and white sequins covers  covers every inch. I love the huge white buttons that close the jacket and how the white circles that makes up the dots play on those buttons. The jacket is sleekly cut with lightly padded shoulders and long sleeves. The waist curves in and the hips are cut on a rounded curve that is quite beautiful. The skirt falls to about the knee in a simple and chic pencil shape with an elastic waist. It's simple black fabric is the perfect contrast to let the jacket shine. Everything about the cut and line of the suit is done to allow that wonderful jacket to take center stage. Excellent condition with a small note about the skirt below

Both pieces are fully lined in a black silk. The skirt has elastic at the waist. The jacket buttons to close and has padding in the shoulders. Note that the skirt was sent with the jacket and is what my clients mother wore with the jacket but it may have been purchased separately.  The elastic in the waist feels slightly stretched to me but is other wise pristine and it would be easy to alter or cut it down if needed. Basically I am including the skirt at no cost and the price is really based on the jacket alone.

Jacket
Sleeves: 22"
Shoulders: 15"
Bust: 19" flat across from side seam to side seam
Waist: 16.5" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 22" from neck to hem

Skirt
Waist: 16.5-18" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 26.5" from waist to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3267

Reference Photos: (1) Bill Blass for Neiman Marcus, American Vogue, January 1986. / (2) Casey Ribocoff, Judy Peabody, and Bill Blass during Gala Dinner to Benefit AIDS Research at Mortimer's Restaurant in New York City, October 1986. (Photo by Ron Galella)

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 am very pleased to begin presenting a collection of Bill Blass pieces from a woman who was a close personal friend of Mr. Blass for many years. Many of these pieces were custom made or tweaked specifically for her and all of them are in exquisite condition, having been stored and cared for properly over the years. These are rare and hard to find example of his work from the late 1970s and into the 1980s. Some may be the only version of its kind that were made. The family would also like it to be known that their portion of the proceeds from each sale will be donated to charity.

This gorgeous printed ball gown skirt and silk top set is a wonderful example of the work that Blass was doing in this time period. We were able to date it exactly with a family photo that my client shared with me. The skirt is made out of a fine silk taffeta. This was then printed with the most amazing floral print. The backdrop is a golden taupe and the flowers are a mix of soft muted pastels with pops of purple that pick up on the purple of the top. It has a detachable cummerbund in a muted burgundy earth color and the bottom pf the hem is finoshed in a wide strip of a copper colored silk satin. The skirt is very full and I have not used any crinolines under the skirt for these shots. The fullness that you see is all done through the way it is cut. The choice of the silk taffeta also helps it to hold the shape while still keeping it very light in weight. The top is a light silk that has a slight texture running through it. It is made with elastic all through the neckline so that you can wear it on or fully off the shoulders. More elastic is used at the waist which makes it insanely comfortable to wear. I love that you can wear it tucked in, loose and easy or with the belt to really cinch it in.  Each sleeve is very full and voluminous. and this just adds to the fabulous effect the full set has. Having the three pieces makes it so versatile as you can wear it all together for the full Blass look, or mix and match with modern pieces from your wardrobe. It is beautifully made and wonderfully extravagant. Excellent condition with one small note below

Both pieces are unlined. The skirt closes with a metal and nylon zipper and a flat hook & eye at the waist. The skirt's hem has some water staining to it. I photoed the worst area bit there are some more. You really don't notice them once it is one due tot he volume. Please review the photo after the label shot. The top slips on with elastic through the neckline/shoulders and also around the waist and each cuff. The cummerbund closes with hook and eye.

Top
Sleeves: approx 26"
Bust: 20-21" flat across from side seam to side seam
Waist: 12-21" flat across from side seam to side seam
Length: approx 23"

Skirt
Waist: 14" flat across from side seam to side seam
Hips: open
Length: 46.5" from waist to hem
Matching cummerbund: 30" from end to end

Modern Sizing Equivalent: SML-MED

Item# DD3263

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.

I am very pleased to begin presenting a collection of Bill Blass pieces from a woman who was a close personal friend of Mr. Blass for many years. Many of these pieces were custom made or tweaked specifically for her and all of them are in exquisite condition, having been stored and cared for properly over the years. These are rare and hard to find example of his work from the late 1970s and into the 1980s. Some may be the only version of its kind that were made. The family would also like it to be known that their portion of the proceeds from each sale will be donated to charity.

This gorgeous ball gown skirt and top set is a wonderful example of the work that Blass was doing in this time period. We were able to date it exactly based on a family photo that my client shared with me. He pulled out the stops in the creation of this set. It is made out of two silks, a silk taffeta for the skirt and sash in a brilliant lime green, and a textured silk for the top and detailing at the waist of the skirt in the most beautiful periwinkle color. The skirt is very full and I have not used any crinolines under the skirt for these shots. The fullness that you see is all done through the way it is cut. The choice of the silk taffeta also helps it to hold the shape while still keeping it very light in weight. The skirt has a double silk sash attached around the waist. One part is the same purple as top and the other a soft and pretty blue. The top is a light silk that has a slight texture running through it. It buttons down the front and the way that the buttons are set gives you just the peek of skin between the buttons. Each sleeve is very full and voluminous. It comes with a matching silk taffeta sash that is in the same green as the skirt and I have used it to create a large bow at the neck. You could style the sash a variety of ways other then this but I liked the balance of volume that it created. Having the three separate pieces makes it so versatile as you can wear it all together for the full Blass look, or mix and match with modern pieces from your wardrobe. It is beautifully made and wonderfully extravagant. Excellent condition with some minor notes below.

Both pieces are unlined. The skirt closes with a metal and nylon zipper and a flat hook & eye at the waist. The skirt's hem is finished with a 3/4" strip of horse hair dressmakers tape to give it some weight and structure. The top buttons to close as seen. The tie around the wast is attached and the tie at the neck is a separate sash. There are some faint, minor marks on the skirt and the top. Please review the photos after the label shot.

Top
Shoulders: 15"
Sleeves: 29"
Bust: 20" flat across from side seam to side seam
Waist: 19" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 28" from neck to hem

Skirt
Waist: 14" flat across from side seam to side seam
Hips: open
Length: 45" from waist to hem
Matching sash: 84" x 13"

Modern Sizing Equivalent: SML-MED

Item# DD3261

Reference Photos: 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.