This dress is from the archive of the Roman couture house Tiziani, which was founded in 1963 by American designer Evans Richards. The label quickly became a favorite among celebrities and socialites including Elizabeth Taylor, who was a regular client; Doris Duke, Gina Lollobrigida, and Principessa Borghese. The label is also famous because of the fact that as a young designer, Karl Lagerfeld accepted a job there. Lagerfeld worked at Tiziani from 1963 to 1969. This piece is unlabeled but has the provenance of being a part of a past auction that featured the sketches and a few select pieces of work from Karl Lagerfeld's time at the label, this dress being one of them.

The dress is constructed from a fine purple silk that has been adorned with dense areas of hand beading. It is almost overtly ornate in its design and is a strong statement piece. The bodice has a V neck that is edged with pink silk satin trimming. This same ruffled trim work circles under the bust and at the waist. It is carried through and around the sleeves, the cuffs and the hem. The sleeves are full and pouf above the wrists. Each sleeve also has a dense panel of bead work circling the elbow area. More beads adorn the bust and run around one side of the skirt. The bead work is extremely fine and mixes embroidery work, real metallic thread, seed beads, crystals and larger beads. These give the dress a touch of glitz and sparkle, The green of the designs pops against the purple silk and I love the 3D feel this detailing adds to the piece. The bottom of the skirt is finished with knife pleating and the work done there is meticulous. The construction of the dress is entirely by hand and it is done to couture levels. It is extraordinary and an amazing piece of fashion history. Excellent condition

Fully lined in a purple silk and closes with a back zipper. Each cuff buttons to close. The inner skirt is finished with an extremely wide stiffened hem encased in silk that helps to give the skirt structure and the slight bit of volume you see. All hand work through out and made to couture standards. Light padding in each shoulder. There is the tiniest of fading to the edge of the purple silk lining on the inner arms that does not effect the exterior in anyway. 

Sleeves: 23.5"
Slightly dropped shoulders: 16.5"
Bust: 19" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: open
Bodice: 11" from neck to first seam under the bust, and 17.5" from neck to waist
Skirt: 42" from the dropped waist seam to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3251

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 an extremely rare silk jersey, full length Hermes dress that dates to 1972. The print is by Julai Abadi and is an elaborate version her famous 'Cliquetis' design that has since become an iconic representation of the house and appears on an entire range of their silk scarves both then as now as a re-issue. It is exceedingly rare to find such a wonderful piece from this time period of the atelier's history that is as striking and beautiful as this dress is. This is very rare opportunity to own a rare piece of fashion history that is made even better by the sheer beauty of the dress itself!

The dress was most likely a custom made piece and has been cut supermodel long. It is made from a fine silk jersey that has incredible drape. The length, combined with the stunning lines of it, make you wonder what fabulous woman this must have been made for. The print is incredible and I was very please to have been able to both date and find the artist's name who created it. The dress has straight cut, just past the elbow, sleeves and the bodice drapes and crosses over itself at both the front and back. The crossing of it drops quite low. When I originally received it, it had been tacked into place on both sides but it was readily apparent that this had been added at some later point and it was not really a well done addition. I had it carefully removed as I feel that should its new owner wish to do that same, she should place the the new securing tack, or a hook and eye, where it falls best on her. If you use the inner strips of fabric that sit inside the shoulder and attach these around your undergarment, you may find needing to tack it is not necessary. The waist is cinched in with attached tie belts and leaving these looser or really cinching the waist in gives the dress a slightly different vibe. The skirt is marvelous, with yards and yards of silk jersey used on its construction, all printed with that stupendous design by Julia Abadi. It is absolutely incredible and a real work of art. It appears to heave been worn little and is one of the best vintage Hermes clothing pies I have ever seen. Excellent condition.

Unlined and closes with a metal and nylon side set zipper. Has attached belts that wrap to cinch in the waist further. There are little straps that snap into place on the inner shoulders to go around your foundation garment snaps to help hold the dress in place on your shoulders. One set of the snap is missing on the one side and the snap that was there at some point is what discolored the label at the one end as you can see in the photo. I can add another snap before it ships upon request. The fabric has some stretch and the measurements below are the comfortable range of the fabric while lying flat. This will allow it to fit a variety of sizes.

Sleeves: approx 16"
Shoulders: no defined seams
Bust: 14-18" flat across from side seam to side seam
Waist: 12.5-15.5" flat across from side seam to side seam
Hips: open
Bodice: approx 19" from shoulder to slightly dropped waist
Skirt: 43" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3248

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD2945

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

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

Halston used this sequin technoque predominantly between about 1973 to 1978. Instead of layering and overlapping the sequins, they were laid out flat, side by side, to cover every inch of the fabric. The Fall 1976 collection featured this asymmetrical neckline heavily and I have included reference photos of jersey versions of the dress from both The Met and the Boston Museum of Fine Arts. In December of 1976 the New York Times wrote that: 'This season there are three things that the ladies must wear: Adolfo's taffeta skirt, Halston's asymmetrical neckline and Mollie Parnis's tunic and satin pants.... Babe bought the first asymmetrical neckline dress and Jackie bought the second. If you do not know their last names you do not know the ladies.' This is a stunning and rare version that is full sequinned and could not be more of an impact once it is on.

The dress is made from a black stretch jersey as the inner layer, which also acts as the lining and the outer layer is the same fabric but in a lighter, thinner weight than the inner layer. That outer layer is what the sequins are attached to. The sequins have all been placed and attached by hand and completely cover the dress from shoulder to hem. The sequins are a deep gunmetal grey and depending on the light they can reflect back as a true black, a deep grey, a lighter grey or even have a touch of a blue grey tone to them. This makes the dress absolutely incredible to see in person. They also make the dress feel almost alive as it skims over the body and the the light reflecting off the sequins make it seem like you have been poured into a liquid metal. The sleeves end just about the elbow and the bust curves to fit. It skims over the waist, hugs the hips and then flares out slightly as it reaches it's supermodel length hem. That signature neckline dips deeply to one side to expose the upper chest and this is mirrored at the back. It is amazingly comfortable to wear because the jersey and the stretch of the jersey also make it easy to fit. Excellent condition with a note below.

It closes with a hidden set, side zipper and the fabric has stretch. Fully lined in a black stretch jersey as described above. Hand set sequins and wide ribbon, hand set inner hem. There is the occasional sequin missing but there are sequins in the inner seams that could be used if this bothered you. It is so densely covered that its somewhat irrelevant. Some of the sequins show a little patina on their finish. The one shoulder above the dipped side feels slightly stretched out to me, though I think on a taller girl it would be fine. I left it as found as I think it is better to have the woman who buys it have it fitted to her specifically. These are all very minor and were taken into account when pricing. The stretch of the fabric should allow it to fit a range of sizes and the measurements below are the comfortable range when lying flat. Note that due to the rarity and expense of this gown it is sold as a final sale.

Sleeves: 14"
Shoulders: no defined seams
Bust: 16-19" flat across from side seam to side seam
Waist: 13-16" flat across from side seam to side seam
Hips: 19-23" flat across from side seam to side seam
Length: 62" from shoulder to hem

Modern Sizing Equivalent: SML-LRG

Item# DD3243

Reference Photos: (1) 1976 Halston Evening Dress from The MET Online Collection.  /  (2) 1977 Halston Dress from the Museum of Fine Arts Boston Collection.  /  (3-5) 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.

Voguepedia says of Gilbert Adrian: "In the hands of the legendary Hollywood designer Gilbert Adrian, clothes could do and say magical things. From the flower-festooned munchkin costumes in The Wizard of Oz to the elegance-defining “Gowns by Adrian” worn by screen stars like Norma Shearer, Barbara Stanwyck, and Joan Crawford—and copied by the hundreds of thousands for the humbler masses—Adrian was the definition of cinematic invention for more than a decade.....Adrian’s signature custom-retail label, founded in 1942, was wildly popular. His gowns bore distinctive names like “Dinner with a Dash of Gold” and “Shades of Picasso,” and he catered to an elite set of style mavens in Hollywood."

After some extensive research I believe this gown is from from Gilbert Adrian's 1945 collection. It was sold to my client and dated as being from a few seasons later, but I feel that the advertisement that I found is too much of a coincidence with its similar feeling pattern worked through the design. The gown is absolutely outstanding and in a world where Adrian Gilbert pieces are already rare, this particular gown is even more special, even if you simply based it on how utterly beautiful it is. It is made of a stunning black silk that has a metallic lame thread woven through it to create the design work that you see. The metallic parts are done in a gold  mixed with a bright, true green and a deeper olive. The addition of the metal thread gives the entire ensemble a subtle glow. The fabric has a good weight to it that helps it to hold the shape and also adds to it rich and luxurious feel. This is fabric that you would simply not be able to even have made anymore. The Grecian inspired pattern is woven through the entire fabric. The addition of this metallic thread highlights the design that runs all the way around the skirt and the top. The top is a simple halter bodice with straps that curve up and around the shoulders. It curves in towards the waist through vertical seaming and is cut to end exactly on top of where the skirt flares out. Once on it gives the illusion of a true gown. The top is entirely finished with the metallic thread, allowing us to see the full beauty of it. The skirt sits under this and the upper portion of the waist is fitted and set high so that it creates no break or lines when it is worn under the top. From under that, a magnificent ball gown skirt cascades to the floor in a sweep of silk. The construction of this is wonderful and it is gathered all the way around the dropped hip seam and set into that seam with a series of tiny, perfectly spaced knife pleats that open up to the fullness you see. I styled this over a light, full length crinoline to really give it the proper shape it would have had been meant to be worn as when it was made. The shape that this creates is amazing. The dress is entirely hand made to Haute Couture standards. This is a rare opportunity to own an original Gilbert Adrian that is not only in wonderful condition but is also heartbreakingly beautiful and still to this day, feels modern and wearable. Excellent condition.

Both piece are unlined with hand finished inner seams and the inner construction is done to Couture standards. The skirt closes with a painted metal zipper and hook & eye on the inner waist band. The top closes with a back painted metal zipper. The skirt was photoed over a full length crinoline that is not included. I have included detail photos of both the fabric and the inner hand done seams. The top looks like it has been out along the side seams from the waist up on both sides and one seam on the fitted part of the inner top skirt was also opened at some point. The work is well done and it could easily be made smaller again if needed. Note that due to the rarity and expense of this gown it is final sale.

Top
Bust: 17.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 25" from shoulder to hem

Skirt
Waist: 13" flat across from side seam to side seam
Hips at lower seam of skirt: 18.5" flat across from side seam to side seam
Length: 44" from waist to hem with a 3.5" hem turned up

Modern Sizing Equivalent: SML-MED

Item# DD3242

Reference Photo: Gown by Gilbert Adrian, available at the William H. Block Co., Indianapolis, 1945.

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

Thea Porter combined exoticism, embellished ornamentation and luxurious fabrics in her pieces and her work was a phenomenon during her day. She dressed many of the most fashionable woman in the world. Eliazabeth Taylor was a noted fan, as was Sharon Tate, Faye Dunaway, Brit Eckland and many, many more. Her legacy continues to this day and great examples of her work are harder and harder to find. In 2015, the Fashion and Textile Museum in London showcased her work in the exhibit "Thea Porter 70s Bohemian Chic" and over a dozen pieces were pulled from my archives for that show and for the accompanying book. This is a more recent acquisition to the shop and it is one of the best I have seen.

This is an astonishing, high glamour dress that combines elements of both her Faye dress, named after Faye Dunaway and the iconic Gipsy dress. Both of these were made in various versions from 1968 onward. I suspect that this one was custom made for a client, or perhaps was just yet another unique version of one of her dresses dreamed up by Thea herself. It is without a doubt one of the most beautiful Thea dresses I have seen in person. The color alone makes it a stand out, never mind the extensive embellishments. The bodice is made from a panel of antique brocade - here it is a pink and gold floral brocade that is very beautiful. This is finished with a combination of silver and gold metallic piping that highlights the neckline and runs down the front to the waist. The sleeves are incredibly full and are made from a deep fuchsia silk chiffon that has a slightly ribbed finish to it. These billow out above elastic ends and are very voluminous. Below the waist there are two layers of silk. The innermost layer is the same silk that was used to make the sleeves. Over that lies a top embroidered silk layer and it is this layer that makes this dress especially wondrous. It is a brighter pink silk Sari fabric that has been heavily embroidered with real silver metal thread and matte silver sequins. This fabric was most likely vintage even at the time of making the dress and both the quality of the silk and the workmanship are extremely fine. All of the work is hand done. The skirt is very full and there are yards and yards of the silk used in its construction. The hem is left to lie at different lengths all around its edge. In person the dress is even better. The  combination of that vibrant deep fuchsia pink mixed with the metallic silver and gold have more impact in real life and the full effect of the dress is astonishing. Excellent overall condition with some notes to review below.

The bodice is fully lined in a purple silk and the skirt is made up of two layers of the silk as described above. It closes with a back painted metal zipper. The elastic in the sleeves may be slightly stretched out but they are fine as they are. I would not change them. I see a small vertical repair to the silk near the top of one shoulder and there are some small splits and areas of weakness to the silk there that will need to be reinforced at some point. There are two long areas of repair to the hem. I see some slight fading to the silk around these areas as well. With the volume of fabric in these areas, once on you would never notice any of these. They are all decently done and the silk seems stable but the areas around the repairs should be handled with care to not do any further damage. Her silks were very fine and this tends to happen to her pieces as they age. Please see the photos following the shot of the label. Note that this dress is sold as a final sale.

Sleeves: 25"
Slightly inset shoulders: 14"
Bust: to 18" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: open
Bodice: 15.5" from top of shoulder to waist
Skirt: 40" from waist to longest points of the hem

Modern Sizing Equivalent: SML-MED

Item# DD3234

Reference Photos: Cherie, Owner of Shrimpton Couture.

This garment has been checked over, steamed out and it is sold in clean. as found condition.

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 the models and the results were spectacular. She first opened her 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, a partial anagram of her husband's first name, Serge. Her work spanned over five decades and all of it, with the exception of a short-lived RTW line begun in 1980, was created as Haute Couture pieces.

When researching this garment I happened across a dress that is held in the collection of the Fine Arts Museum of San Francisco, with a similar cut, and what looks to be the same fabric, dated to 1977. The collection notes on that dress even mention a matching cape that is not shown in the single photo provided for that garment (and shared here). 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. This 1970s period is also about the time period where she turned her attention from using primarily jerseys to incorporating more taffeta and silks into her work. Her designs were never huge variations on themselves through the decades and we do see similar feeling pieces to this across the decades of her work at times, but I am fairly confident that this is the correct date within a season or two. Especially given the reference photo provided and the fact that the Museum dress also has a matching cape. It is just too coincidental given the same color and similar silhouette, not to be from that same collection.

The dress and gown are made from a deep green silk taffeta. This fabric choice gave her the ability to work in the volume she required for the silhouette whole still keeping the dress light and wearable. It is also a fabric that helps to retain the shapes she wished the set to have. The sleeveless bodice is cut so that the shoulders slightly extends outward giving the silhouette an almost statue-like appearance. The bodice skims over the body in a long lean drop that ends just at the top of the hip. It extends in this same long lean line over the hips, under the skirting and falls to the floor, with a high side slit up one side to allow you to walk. Attached to this inner dress is a dramatic skirt that is cut high at the front and curving down and slightly trained at the back. By tightly gathering the taffeta and adding a second tightly gathered, short ruffled layer underneath around the hips, she has created a form that stands away from the body and gives tremendous volume and shape. On the body it has an airy lightness and the volume of the skirts surrounds you, making you feel like you are a part of a magical fairy tale. Over this is a matching silk taffeta cape with almost monastic simplicity in its lines. It simply hooks into place at the neck with one tiny hook and falls beautifully over the shoulders. The cape flows and extends down longer at the back, picking up on the curved lines of the back skirts and extending the line downwards and back. It is magnificent. Both pieces are made by hand and both have the Gres Haute Couture label present. This is a rare opportunity to own an original Couture Gres ensemble comprised of this extraordinarily beautiful gown and matching cape. Excellent condition.

The Dress and cape are unlined with hand done seams throughout as per the parameters of Haute Couture. The dress closes with a off-set back zipper that is camouflaged along a seam. It also closes along the top of one shoulder with a series of hooks and snaps. The cape has one single hook & eye to close. Under the skirt overlay is tightly gathered ruffle of silk taffeta that gives the skirt overlay support and some extra volume. I see some very tiny marks on the bodice that are negligible but mentioned for accuracy. Note that the bust is more suited for a medium frame and the dress will work well on a smaller frame as well as the volume through the waist and hips is not meant to really hug and fit the body bit to glide over it. The dress has a very faint smell of perfume but it is not unpleasant or overwhelming. It is an extraordinary thing to see in real life.

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 is 30" in length

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.

The Fall 2008 shows was perhaps the one that Pilati's time at YSL is most remembered for. The shocking bowl hair cuts on every model an the stark black lip were instantly seen around the world. Vogue's review of the collection, by Sarah Mower,  stated in part: "They looked like an army of futuristic female automata, marching out in identical black-bowl wigs and black lipstick, some with their eyes blanked out by narrow slivers of wraparound sunglasses...It made one of the season's most joltingly dramatic contributions to the current dialogues about tailoring and austerity.... it threw up some fine pieces, like jackets with swaggering, flying tails ... Something about the carapace stiffness of these garments, the sense that the clothes are molded rather than fitted, puts Pilati in line with other designers, like Nicolas Ghesquière, who are pushing fashion away from the body and toward something new. In Pilati's case, the impact—with its almost complete abnegation of romanticism and traditional femininity—was a shock. Still, fashion sorely needs those who dare, and this is a collection whose controversial content and implications will be discussed and dissected for months to come."

This was Look 37 in the show and was the second to last piece shown to close the show. It is a jacket that zips up at the front and has exactly what was described above, swaggering, flying tails, as well as exaggerated hip panels and a cut that glides away from the body to create a abundance of volume as it nears the hem. The front is just a touch too short to properly get away with it as a dress, though I did belt it with my own belt and then put it over dotted tights and a pair of boy shorts for the photo that I have included here of myself in it. On the runway it was layered over tapered pants and a thin, silk cami. It is collarless and zips up the front with a big chunky zipper that has the YSL logo embossed onto it. When the jacket reaches the hip, there is a angular panel of fabric sewn around the hips that create a tremendous pannier effect on either side. The way it is placed makes it feel like there are layers of the fabric there  and it is quite ingenious. It is also cut to feel very voluminous for its actual tagged size. The cut is very generous. The entire jacket is covered in hand sewn, glossy black metal sequins that give the coat its futuristic feel. It was never worn so like buying new. Excellent condition.

Fully lined in a black silk and zips to close at the front. Tagged a 38 FR but very generously cut through the body so if the shoulders work then it should fit a range of sizes

Sleeves: 23"
Shoulders:15 "
Bust: 19" flat across from side seam to side seam
Waist: 19" flat across from side seam to side seam
Hips: open
Length: 32.5" from neck to front hem, 42" to the back hem. The longest points of the front hang to 45" from the neck

Modern Sizing Equivalent: SML-LRG

Item# C520

Reference Photos: (1-2) F/W 2008 Yves Saint Laurent Runway, Look 37. Model: Aline Weber.  /  (3) 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.

The Attico brand was founded by street-style stars Gilda Ambrosio and Giorgia Tordini and the line has a vintage vibe to it that is meant to be worn with a bit of a nonchalance attitude. This was one of the hardest to find pieces from the Fall 2017 season and was sold out worldwide almost instantly at the few places it was made available. This one has never been worn and still has all of its original tags. The coat was made in Italy from black glossed-leather embossed with contrasting crocodile and snake-effect panels. It has an easy, open shape to it that will allow it to fit a variety of sizes. There are no closures at the front, it just ties into place with the matching belt. The cut is very simple with no collar or cuffs. This is deliberate design choice in order to allow the glossed leather and that exotic print to take center stage. The leather has a slight stiffened feel to it that will soften as it is worn. It is brand new with all original tags still attached. Excellent condition

Unlined leather with no closures. It wraps and ties with the belt to close. Pockets on either hip. Tagged a size 40 or brand size 2. The cut is generous. All original tags and unworn. It is a true black in person

Sleeves: 26"
Shoulders: approx 17" and cut to drop slightly
Bust: to 21" flat across from side seam to side seam
Waist: to 21" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Length: 47" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# C518

Reference Photo: F/W 2017 Attico LookBook, Look 37.

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

Item# A351

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 wonderful coat is an exceptional piece of the early work that Yves was doing for his Rive Gauche line. This is from the time period of those very first few years of the label and it is wonderful to have it come into the shop. I found a shot of Jane Birkin that appeared ion the March 1969 issue Vogue and the coat is strikingly similar in cut and line. In 1969, Yves was quoted as saying; "My dream is to make things that can be mixed together; a coat is only beautiful, for me, if a woman can buy it and wear it with anything." I believe that this is just the kind of coat he meant when he designed it.

The lines of the coat are wonderful and if it was full length I would have been tempted to coin it as a Great coat silhouette as it has that same fitted upper body and flared skirt that those coats have. Though this shorter length does give it a bit of a Spy coat feel I think. It is made out of a cotton twill that has a canvas feeling finish to it. This has then been lightly coated and parts of the design have an almost painted feel to them. That is layered over a floral print that is worked directly into the weave of the fabric. The combination of the fabric and its technique is unusual and quite beautiful. The colors are a deep muted red that is mixed with deep corals and navies. The backdrop color changes as it works it way over the coat and the pattern is laid out in horizontal strips that emphasize the cut of the coat. The upper body is fitted with long slim sleeves. The collar is huge, it ends in large points and covers the entire upper bodice with its size. This is a design element that you see Yves use through the next several seasons. The waist is brought in under that and then the skirt flares out. Big slant pockets sit on each hip with pointed flaps over them. The back is vented so that the flared silhouette is kept as you move. This is a fabulous piece of Yves early work for the Rive Gauche line. Excellent condition

Fully lined in a deep gold silk. It buttons to close at the front as seen and has an interior side tie as well. Pockets on each hip and light padding through the shoulders. There is some minor grubbiness and very slight change of color the lining here and there. Tagged a 42 but cut small.

Sleeves: 22"
Shoulders: 14"
Bust: 18" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 40" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# C513

Reference Photo: Jane Birkin in YSL, Vogue, March 1969.

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

This was Look 38 on the runway for the Fall of 2007. At this period in time, Oscar was still alive and the Creative head of his self named label which means this would be one of his designs. Nicole Phelps of Vogue said of this collection; 't could've been a movie, so picture-perfect was Oscar de la Renta's take on the good life. From beginning to end, and day to night, the collection sparkled.' Indeed the entire collection that season was embellished and detailed with glitz. This dress was a stand out and has an interesting mix of feeling perfectly feminine and proper, while the extensive matte pewter bead work gives it an almost armor feel.

The dress is superbly constructed and feels high end form the first glance. The base fabric is a textured ivory boucle that has just enough weight to it that it feels luxurious but is not too heavy to wear comfortably. Onto this is an extensive design made of square matte silver sequin beads, mixed with matching crystals in a variety of sizes and and large pailettes that are all hand placed and applied to the dress. These circle the neck where they are set on little triangles and have rhinestones scattered in the design as well. Around each sleeve is a wide band of the square sequins with bead work detailing each sleeve further. Two wide bands of embellishment circle the hem. Around the waist is the most extensive beading of all and these are also detailed with large square sequins and more beads. It is quite striking and dramatic and yet still retains that classic elegance that the best of Oscar's work has. The dress is new and has never been worn. It still has all of its retail tags attached. Excellent condition. 

Fully lined in an ivory silk and closes at the back with a hidden set zipper. The dress has all of its original tags attached and has never been worn. Tagged a US 4 but seems generous in its cut so p,ease know your size in ODLR or make sure to check the measurements below.

Shoulders: 15"
Bust: 16.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Bodice: 15" from top of bodice to waist
Skirt: 23.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3207

Reference Photo: (1) Oscar de la Renta Fall 2007 Runway, Look 38. Model: Caroline Trentini

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 2007 it was Matthew Williamson that was the Creative Head for Pucci and this particular dress was a stand out that season. Vogue's review of the collection said in part: "It's for the kind of young and ravey party girls who look to Zoe for tips, ideal for being papped in from beach to nightclub, Ibiza to Bali, Saint-Tropez to South Beach....As you'd expect from a British designer who's made it his business to hang with It girls, Williamson treated Pucci to a dose of what's going on in the London club scene...He took Pucci archive prints and punched them up into the brightest turquoise, aqua, peach, purple, orange, and electric blue, styling them with mirrored cutout wedges, sixties enamel disc pendants and giant cuffs"

This was Look 15 on the Runway show and it feels as fresh now as it did then. Williamson's time at Pucci may have been short, but there were definitely stand out pieces from that period of Pucci's history and this dress is definitely one of them. On the runway a silver collar was styled with it and  layered over the neckline - an easy trick to duplicate if you loved that more sixties feel. The sixties influence is readily apparent in this dress. That halter is the exact cut of pieces of original Pucci I have had and sold. Williamson took that archival cut and then made it shorter and covered the surface with sequins. It is also elaborately beaded with 3D detailing in twisted ropes of pink and green. The beading is set as a giant medallion at the front and details the neck, hem and sides. Big stones are set in the design and the closer you get the more you fall in love. The ivory, iridescent sequins that cover every other inch of the surface catch the light beautifully. The dress ties around the neck and is easy to wear through the body as it is fairly straight in its cut with just the suggestion of indentation at the waist. The dress is new and has never been worn. It still has all of its retail tags attached. Excellent condition. 

Fully lined in a white silk and closes with a hidden set side zipper. All original tags attached and was never worn. Tagged a US 8, IT 42, UK10

Bust: 17" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: approx 40" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD3206

Reference Photos: (1) Emilio Pucci Spring 2007 Runway, Look 15. Model: Sasha Pivovarova.  /  (2) Karmen Cass for Emilio Pucci Spring 2007 by Inez & Vinoodh.

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 slightly less intricate version of the Look 20 jacket that Carmen Kass wore on the Spring 2002 runway. Vogue's review of the collection said in part 'Versace's collection could have been designed specifically for Lopez and her fellow members of the red-hot diva society.' This was specifically noted since the then newlywed Lopez showed up to attend this show and caused a bit of a stir.

I love this jacket and I think it is even better in person. It was a touch too small on my dress form so is not sitting exactly how I would have liked it to. You also don't get the sense of movement from the fringe that runs down the front that you do when you see it on and in person. The leather used is butter soft and the fringes are equally as light and soft. This gives them tremendous movement and in person they act more like a fabric then leather. The jacket is cut long through the body just like ton the runway. It nips in slightly at the waist and the shoulders are structured but sift with no extra padding. I love the braided leather cord detail woven through the edge of the collar, cuffs and around the hem. It has hidden hooks to close it down the front and pockets on each hip. It is fabulous. Excellent condition

Unlined through the body and closes with hidden hooks down the front. There is a partial lining set through the upper shoulder and into the sleeves. The leather is butter soft and light in weight. Pockets on each hip. The color is person has a touch of a 'putty' feel to it. Sold in clean, as found condition

Sleeves: 25"
Shoulders: 16"
Bust: 19" flat across from side seam to side seam
Waist: 17.5" 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: SML-MED

Item# C506

Reference Photo: S/S 2002 Versace Runway, Look 20. Model: Carmen Kass.

This garment is sold in clean, as found condition ad has been thoroughly checked over before shipping

The Pucci beach caftan is one of those iconic vintage items that is synonymous with the 1960s and that carefree, jet set life that Emilio Pucci and his clients often lived. Variations of this example were heavily featured in the display at the Fondazione Emilio Pucci, Palaxxo Pucci, in Florence. There, they were displayed and encased under glass so that you could see then from every angle and each felt like a sculpture. They are very rare and hard to find as most were worn them extensively and most did not survive intact and in great condition. This example is in wonderful condition and the colors are still bright and true.

The piece is made of a terry cloth, toweling velvet and is a stunning example of this classic piece of Pucci's work during this time period. It has no sleeves and is meant to be worn layered over something else, whether that be a bikini, shorts, another dress or a skirt. The possibilities are endless.It has a geometric print in a gorgeous ocean theme that combines green, purple, a turquoise aqua, black and white. It completely unzips and opens at the side along one seam that I have photoed. This makes it extremely versatile and allows it to slip over just about anything or be worn as a stand alone. The front neckline sits on a V and the sides are open right to the waist. The print is vivid and bright and it one of his signature designs. The fabric is also signed throughout. These are hard to come by and a fantastic collector piece. Excellent condition with one small note to review below.

The body of the dress is unlined but it does have a fine cotton muslin interior border in a aqua blue hand stitched in place around all the edges. It closes with a hand placed metal zipper at the side that completely opens the dress. There is also a row of fabric covered, hand places snaps along the seam of one shoulder. Hand finished throughout. In person the color is more true and vibrant than how it photoed. There are two tiny smudges, one that you can see near the shoulder on the 8th photo and one on the back low hip that I photoed and it is shown in the final shot after the label photo. Both are extremely minor.

Bust: 17.5" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: open
Length: 55" from shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD3197

Reference Photos: (1) Fondazione Emilio Pucci, Palaxxo Pucci, Florence. A display featuring terrycloth and cotton velvet capes in display cases in the Sala delle Muse. Photo: Santi Caleca/Emilio Pucci Archive, Florence.  /  (2) Photo by Henry Clarke, 1968.

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 set is from the same Haute Couture collection as the linen jacket I also have listed in the shop. It is also from the same private collection coming to me from the daughter of the original Couture client. The look for the 1981 season, according to the book, 'Dior, Catwalk' was easy, flowing styles .. "the dresses often have short puffed sleeves and are scattered with cheerful motifs....Bohan has created styles that not only uphold the honor of couture but can be worn comfortably as well"

The attention to detail shown in every stitch is breathtaking. It is entirely done by hand and the silks used are of the highest possible grade and are as fine and light as a feather. The top is done in a silk chiffon that has a ribbon finish to it that adds pretty texture. It floats over the torso for an easy fit. It is unlined, which makes it semi-transparent. It has a finish of pleats that run down the front for a pretty detail. This makes the floral pattern that covers the silk even more interesting as it peaks through and over the pleats. The sleeves are short and puffed as the collection was noted as having. The skirt is a neat pencil and falls in a column of perfectly cut silk. The same pretty floral pattern is continued over the silk of the skirt and it feels just a touch deeper in tone since the fabric there is opaque. The skirt wraps over itself and hooks & snaps to close. There are even pockets on each hip. It is truly a wonderful example of Couture during this time period and when you see it in person you will be astounded at the level of craftsmanship and care put into the construction. Excellent condition with one minor note below.

The skirt wraps and hooks and snaps to close. It is hand lined in an ivory silk. The bodice is unlined and closes down the front with the buttons and then snaps nearer to the bottom. You could move the hooks and snaps at the waist of the skirt to adjust the fit a bit up or down as required. There is one very faint spot on the tip of the collar of the top. I photoed it and you can review that photo after the label shot. The color in person is a pure ivory with no yellowing to the fabric - any you see in the photos is from the lighting only. It is completely made by hand as the parameters of Haute Couture dictates. Proper Haute Couture label present in the top. Numbered 13660

Top
Slightly inset shoulders: 13.5"
Bust-Hem: to 19" flat across from side seam to side seam
Length: 24" from top of bodice to waist

Skirt:
Waist: 12.25" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Length: 24" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3194

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 the book 'Dior, Marc Bohan' there is a quote from Bohan during his period of time with the house from the eighties that states 'My aim is to make clothes that are sophisticated in their simplicity'. That goal is perfectly exemplified in this jacket. Every part of the line and cut of this jacket is perfection. This is true Haute Couture and part of a private collection from the daughter of the original Couture client.

The jacket is made of a beautiful starched linen that is just heavy enough to hold the shape but without adding even a touch of excess weight. In person the color is richer and deeper then how it has photoed and even better in my opinion. It is a deep Ochre that summons up thoughts of travels to exotic destinations. The choice of the linen adds to the luxurious feel. It is only lined through the sleeves so that they hang perfectly and feel comfortable on. It is perfectly structured and every single choice in its construction is from a Master Tailors viewpoint. This immaculate tailoring is helped along by the light starching of the linen fabric that gives it the ability to be sharply cut and tailored and yet still feel soft and easy. The shape is a slightly elongated box that sits perfectly on the body. The notched collar is restrained and neat. The double row of buttons are set low as are the pockets. This gives the jacket a touch of the twenties in feel and it also allows you to belt the jacket above the buttons if you wish. The immaculate seaming of the jacket creates the only detailing beyond the color and fabric choice. It is extraordinary beautiful in its simplicity and perfectly illustrates the art of high couture and ability to cut and tailor like nothing else. Excellent condition.

The sleeves are lined in a matching, hand set silk and the rest of the jacket is unlined with hand finished seams. It closes with buttons at the low front. made by hand to Haute Couture standards with proper couture label. Numbered 13658

Sleeves: 22"
Shoulders: 14.5"
Bust: 18" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 22.5" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# S853

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 wonderful little piece merges a top with a jacket perfectly and is a beautiful example of Ferre's work during his time as Creative Director for Dior. The twin of this piece walked the runway and I have included the video of the piece in its debut as well as a still capturing it on the catwalk. The tag is numbered which for the boutique line label usually denotes a custom order or an order by an established client during this time period.

A cornerstone of Ferre's work was his ability to mix textures and fabrics so flawlessly that they created one seamless piece that you could not imagine being made any other way. Here he utilizes four distinct fabrications to make this gorgeous little jacket. The sleeves are cut to be very full and billow above the cuffs. On each cuff there is a filigree silver metal button, a signature of this particular collection. The sleeves are made from a fine silk organza and the execution of each is flawless. I particularly love how they are pleated across each upper shoulder. The back is a raw silk finished with a touch of sheen. The front is made of silk cord that is knotted and swirled. Finishing it off is waxed cord that is set as tassels all along the lower edge. It is remarkable, extremely well made and my client says that it was never worn. Excellent condition.

The front panels are lined in a silk chiffon and the back in a black silk. The sleeves are left unlined. It has no closures at the front. Each cuff buttons to close. The tag is numbered 49407

Sleeves: 24"
Slightly dropped shoulders: 16"
Bust: 17.5" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Length: 15.5 " from neck to hem at the back, 20" at the front

Modern Sizing Equivalent: SML-MED

Item# S851

Reference Photos: From the Christian Dior S/S 1994 Runway Show Video (below).

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 beautiful dress by Yves Saint Laurent mixes a solid black velvet with a sheer black silk chiffon. It provides head to toe coverage but the sheerness and placement of the silk chiffon give it that twist of sensuality that runs through Yves' pieces. The mix of the fabrics also serves to highlight the lines of the dress and shape of the woman who wears it. The body of the dress, including the long fitted sleeves, is done in a soft, inky black velvet. The neckline is scooped at both the front and the back to offset the coverage everywhere else. It curves in at the waist and is seamed there so on the body the effect is even more brought in then how it appears on the dress form. The velvet then continues over the top of the hips and is cut to be fitted. This gives it a corseted, hourglass effect. Where the velvet and silk chiffon of the lower skirt meet is a wide 3.25" wide silk satin ribbon that again brings the shape in to follow the curves of the body. A bow details one side. Under that, the skirt falls to the floor in a generous sweep of fabric. It widens as it nears the floor with panels set horizontally to give it volume. As with many of Yves' pieces, showing them on a dress form really does it little justice. This is cut to work on a real girl's figure and is so much better on the body. There are parts of the skirt that are not perfect - please be sure to read the full condition notes below and review all provided photos. It is completely wearable as it is and is priced better then it would be if perfect. Excellent overall condition with notes regarding the skirt below.

The bodice is lined in a black hand set silk satin and the lower skirt is unlined. It closes with a back metal and nylon zipper. Each sleeve has a zipper at its cuff. Tagged a vintage YSL 38. There are three repairs to the skirt, all near the hem as well as some other small areas of thinning. I photoed each, and one shot also includes the largest area of thinning that is present. The three photos showing the flawed areas are shown after the label photo. The hem of the skirt does has a finishing stitched seam but is not turned up. It is very long so you could easily hem to the desired length if needed. When on the repairs are lost in the fold of the skirt so you do not notice them

Sleeves: 22"
Shoulders: approx 15"
Bust: to 18" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: 18.5" across lowest seam at very top of hips, open under that
Bodice: 15" from shoulder to waist, 20 from waist seam to lowest seam of the ribbon under the hips
Skirt: 49" from waist seam to hem including the 29"velvet portion under the waist seam and to the bottom of the ribbon under the hips

Modern Sizing Equivalent: SML-MED

Item# DD3192

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 tunic dress was shot for the September issue of Madame magazine giving us the collection date. and there is what looks to be a very near matching coat that can be found in The Fashion and Lace Museum's collection. Who knows, maybe the girl that buys this one might one day find a version for her own so that she has the complete set. This is a remarkable example of his Haute Couture work during that time period. A piece in this shade of pink and in this exemplary condition is a rare find.

This beautiful, sculptural, numbered Haute Couture tunic is stunning. If you are the right size and height you could also get away with wearing this as a micro mini. It actually sits a bit tiny on my dress form and I suspect that given the other piece in the collection that year that I could find photos of that it would have been worn as a mini over tights. The fabric is that classic Courreges thick textured wool jersey that despite its thickness is still light in weight and wearable. The slight texture to it and absolutely superb seaming details give the dress a rich, luxurious feel. Each curved seam and the soft but sculptural cut create a beautiful line that curves in at the waist with a flared hip. A half belt detailing anchors the back and is detailed by two large white buttons. Tow more buttons sit on the front of the tunic and it wraps over itself and buttons to close. Each button hole, including the back one which are both completely functional, are finished to couture standards. It has no collar and the front plunges quite low with a hidden hook along the neckline to hold it perfectly in place. Very chic and very couture in feel. Extremely collectible and rare. Excellent condition.

Fully lined in a hand set ivory silk. The tunic crosses over itself at the front and buttons to close. Has an extra button sewn inside. Hand finished throughout. The color is a slightly different shade of pink - and even better I think - than how it photoed. Looked to have been worn very little, if at all. Numbered D7079

Bust: 16" flat across the back from seam to seam
Waist: 14" flat across the back from seam to seam
Hips: 20" flat across the back from seam to seam
Length: 28" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD3189

Reference Photo: (1) Courreges Ensemble, Madame Magazine, September 1969.  (2) Courreges Ensemble, Vogue Italia, 1969.  /  (3) Courreges Ensemble, 1969.  /  (4) Courreges Coat, 1967. From Fashion and Lace 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.

This wonderful little dress and jacket set bears the Christian Dior New London label, making it a beautiful and early example of the Dior labels history. This is from the Spring of 1961, an important year in Dior's history as this would have been Marc Bohan's first collection for the house. The collection was called 'The Slim Look', and was noted as being a 'simple, young and streamlined style - his modern take on the New Look'. You can see a striking similarity to the design in the examples shown here from the Haute Couture collection from that same year. This set is from the Modele Original line which would have been custom made based on the Haute Couture presentation and special ordered through Harrods in this case. It is numbered and was made with many of the same high standard finishes that the Haute Couture pieces incorporated.

Bohan's inspiration for Spring 1961 was the 1920s. He underplayed the bust and dropped the waistline. Skirts had a slight flare and the jackets were soft and slouchy. It was a huge commercial success and a critical one as well. Here was have a set is made up of two pieces, an inner, sleeveless, dress with a soft cut jacket. Both pieces are made of a beautiful coarsely woven linen and silk mix that is just heavy enough to hold the shape but without adding any bulk or excess weight. In person the pink color is even richer and deeper then how it has photoed and is quite lovely. The cut of both pieces are wonderful. The dress is cut in a long sheath that gently flares out as it nears the hem. Slits are set on each side of the skirt so you get a bit of extra movement when you walk. It is sleeveless which is perfect for the warmer months and the waist is cut loose and easy. The front has a bibbed panel set over the inner dress. The detailing on it is remarkable - even though it is attached each of those buttons and button holes is 100% functional - though they serve no purpose in being so other then to have made the piece 100% properly. The neckline is a simple and collarless. The matching colored jacket sits over the dress and it too is kept simple but with immaculate seaming and top stitching creating the only detailing. It has no closures and is meant to sit softly on the body with little structure. It is beautiful and a remarkable example of his work during this pivotal collection for the house. Excellent overall condition with some minor notes below.

Both pieces are lined - the dress in a matching silk organza and the jacket in a hand set ivory silk. The dress closes with a back hand set painted metal zipper and the jacket has no closures. Hand finished throughout with silk covered seams in areas. The pockets on the jacket are functional. The pink color is deeper and much much better then how it photoed. Please note the following - the inner silk organza of the dress has some small tears and parts of it are missing through the upper bodice. It does not affect wearing it in anyway and rather then remove it I prefer to send as found. The jacket shows mild discoloration around the arms which does not go through - please review the photo provided after the shot of the label. There is the slightest grubbiness to the arms on the dress but very very minor and they would not photo even.

Jacket
Sleeves: 17.5"
Slightly dropped shoulders: 17"
Bust: 20" flat across from side seam to side seam
Waist: 19" flat across from side seam to side seam
Length: 20" from neck to hem

Dress
Bust: to 20" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 43" from neck to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3188

Reference Photos: (1) Model in Dior, Vogue, March 1961.  /  (2) Dior Haute Couture Presentation, Spring 1961.  /  (3) Dior 1961. Quotes from 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.

This wonderful Ossie dress features a mix of two of Celia Birtwell's prints. A pretty floral design is mixed with her iconic pineapple print that runs over the entire dress. Both are screened onto a crepe chiffon, a fabric choice that holds the color exceptionally well so it still feels crisp. In the book 'Celia Birtwell', Ceila notes that the pineapple print was: "influenced by '30s day dresses. I like ladylike, small prints, ones worn by women of a certain age." The influence of the thirties is also evident in the cut of the dress. It is cut on the bias and this give the fabric the room to move and drape as Ossie wished. When it is on the body the bias cut gives the dress movement and allows it to move with you. The skirt is constructed from two tiers of fabric that are layered over each other. Each tier flares out to give it a swing feel. I love the contrast of the prints together too. The dress skims up and over the waist, ending at a high set triangle of the opposite print that anchors the plunging bodice. Each shoulder has a keyhole of bare skin exposed with a tie at the top of the shoulder. Adjusting these ties allows you to decide how low on the shoulder it will sit. The back is left entirely open along a long slit that simply ties to close in two places. Excellent condition with one small note to review below.

The inner skirt acts as the lining there and the cups of the bodice are lined in a red silky rayon. It slips on to wear and closes with ties at the shoulders and two more at the back. There are some small tears to the lining of the bodice that do not go through to the exterior. I have photoed the area. All are stable and you see nothing once on. Tagged a vintage Ossie UK 14

Sleeves: approx 15"
Shoulders: no defined seams
Bust: 17-18" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Hips: open
Bodice: 11" from neck to waist
Skirt: 32" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD1315

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 jacket was Look 54 on the Fall 1989 runway and it was worn by none other then Beverly Peele. There is was styled with a crop pant, matching tights and gloves and a crisp white short underneath. Vogue's fashion journalist Laird Borrelli-Persson review offers an interesting glimpse of the early Alaia noting that 'Azzedine Alaïa was associated not only with a body-conscious look, but with a corner of Paris as well. The live/work space the designer built in the Marais, would become a welcoming mecca to models and clients, but it was unfinished when the designer presented his Fall 1989 show a month after the regular season ended. Alaïa famously presented on his own schedule, i.e. when he felt finished, and not according to a calendar date. According to The Los Angeles Times, the glass-roofed space was leaky, dampening the models as they paraded in a collection that underlined some of the tropes the designer had staked out as his own'.

Alaia's first ready to wear collection was in 1980 and just the year before he had opened his first boutiques in LA, NYC and Paris. That makes this a very early example of his work as he was just beginning the journey to branch outwards. The jacket is made from a rich velvet that is done in a deep deep blue. The choice of velvet gives the color extra depth and it also allows him to shape and sculpt it as he wished. The collar and front seams are finished with a wide, matte fabric in black for contrast. The collar is rounded and set so that it always sits slightly up and I love how the buttons glide through hidden set button holes set along the seam where the ribbon and velvet meet. On each hip is a pocket set with a button closure and they have a slight curving shape and are set to emphasize the hip. You can see the beginnings of that exaggerated hourglass silhouette that he would become known for in the shape of this piece. Beautifully tailored and perfect in every way. Excellent condition

Fully lined in a black silk satin and closes with the buttons down the front as seen. It appears to have never been worn, or worn very little and looks immaculate.

Sleeves: 23.5"
Shoulders: 15.5"
Bust: 17" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 28" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# S842

Reference photo: Fall 1989 Haute Ready-to-Wear Runway, Alaia, Look 54 on model Beverly Peele

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