Mariuccia Mandelli launched the Krizia label in 1954, as one of Italy's first ready-to-wear labels. By the 1980s and 1990s Krizia was a leader in the Italian fashion world with international acclaim. Much of her work was inspired by architecture and you can see a strong sense of that in this dress. I have dated this to the 1982 collection based on the reference photo found and dated to that year. It shares the same striking and unusual 'pockets' that jut out dramatically from the hip at sharp angles as the piece in that photo.

The dress is full length and made of a crinkled iridescent taffeta. Another reference photo found shows Mariuccia wearing an outfit in a similar fabrication. The drama of the hips are balance out by equally dramatic, curved and puffed sleeves. The front is done in an extremely low V that plunges past the waist to an almost unwearable depth. The hips are cut slim and fitted and the back has a high slit that runs up the center seam so that you can move and walk. The panels on each side are functional 'pockets' of sorts and do open down into the very bottom of where they attach along the side of the skirt. I have shown them extended out to each side but also photoed them pinned at the top points so that they curve in and wrap. You could do this to either the front or the back as I have shown. It is a very interesting and avant garde piece of fashion history. Excellent condition

Unlined and closes with a hidden set, metal and nylon zipper at the back. Tagged a 42IT. Appears to have never been worn, or worn very little

Sleeves: 15"
Shoulders: 14.5"
Bust: to 19.5" flat across from side seam to side seam
Waist: to 17.5" flat across from side seam to side seam
Hips: to 18.5" flat across from side seam to side seam
Length: 60" from neck to hem
Front plunge is 19" deep and the black slit is 24 from hem

Modern Sizing Equivalent: SML-MED

Item# DD3099

Reference Photos: (1) Krizia, 1982. / (2) Mariuccia Mandelli (designer of Krizia), date unknown.

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 skirt is part of the same ensemble that Yves commissioned the talented Antonio Lopez  to illustrate for the F/W 1984 Yves Saint Laurent Rive Gauche ad campaign, giving us a firm date that we can document it by.

This beautiful Yves Saint Laurent skirt is from the Fall 1984 Rive Gauche collection. The first thing you notice about it is that gorgeous fabric. It is a gorgeous metallic lame that glimmers in the light and gives the skirt a beautiful sheen. The colors are mix of gold with shots of blues, reds and corals in its design. The skirt is quite full and is set into the waist with a series of sharp knife pleats to help give it that volume you see. Its a great larger size and I love the movement that those pleats give it. Excellent condition.

The skirt  is unlined and closes at the side with a painted zipper, snap and flat hook and eye at the waist.

Waist: 16" flat across from side seam to side seam
Hips: open
Length: 37" from waist to hem

Modern Sizing Equivalent: LRG-XL

Item# S832

Reference Photo: Antonio Lopez illustration for F/W 1984 Yves Saint Laurent 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.

By Spring 2011 Isabel Marant was a force. This was only her fourth official runway show and her label was exploding. She told Vogue's Saran Mower that it had become hard to keep her New York store, which opened that spring, stocked with merchandise: "As soon as a new shipment comes in, pfff, it's gone." Mower's review of the collection went on to say that: "Marant took her first trip to California earlier this year and fell in love with its chill vibe. This collection, she said, was an ode to surfing and the early days of skateboarding. That seventies feeling meant there were cutoffs in denim or corduroy with everything from bright check button-downs to shrunken fisherman sweaters to lacy tanks. Sports references came fast and furious: A vintage-looking silk baseball jacket in embroidered washed silk was followed by nipped and fitted rugby-stripe dresses and slightly oversize football-jersey tees. On the more girly side, Marant's signature cropped jacket was cut from red bandanna fabric, and a strapless dress was smocked from a Liberty-esque purple floral print."

This is that purple dress mentioned in the review and it instantly sold out world wide and was wait listed everywhere. The furor caused by this dress was astonishing. It was worn by Anja Rubik for the runway and everyone wanted to emulate her look. It is the easiest dress to wear and the cut is very simple. The bodice is a stretch, elastic tube and the skirt is cut micro short. The seams are left raw and deconstructed, The skirt has three layers of ruffles and only the very top layer is seamed, the other two layers are left cut and raw. The sides are curved up so they are cut very high on the thigh, This also gives the skirt a pretty curve that is immensely flattering. It was shown on the runway belted, but can be work either way. Even after all this time this is a favorite piece from all her collections. Excellent condition.

Unlined and slip on to wear. The bodice stretches. Tagged a Marant size 2. The fabric is 100% Indian made silk. The stretch will allow a variety of sizes

Bust: 15-19" flat across from side seam to side seam
Waist: 12-16" flat across from side seam to side seam
Hips: t 20" flat across from side seam to side seam
Length 24" from top of bodice to shortest pints at the sides, 26" to longest point of the hem

Modern Sizing Equivalent: XS-MED

Item# DD3093

Reference Photos: S/S 2011 Isabel Marant Runway, Look 3. Model: Anja Rubik.

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 lovely little dress is closest in feel to the pink one used for the fall ad campaign for the Rive Gauche label that year. I love the pink version as well but think that the all black is perhaps even more wearable for a larger variety of occasions and the velvet gives it a more luxe evening feel.

The dress is lovely with its strapless, curved bodice and fitted silhouette. The main fabric that makes up the body of the dress is a rich, lush black velvet that gives it depth and texture. This is then mixed with black silk organza ruffles that detail the dress. I absolutely love the ruffle detailing that finishes the edges and the contrast of the two fabrics. This is a classic YSL touch and gives it a flirty, girlie feel that it would not have without that finish. The ruffles edge the curving neckline, curve around to highlight the bust area, and then go all the way around the back. At the hem he has used three full layers of the ruffle set almost on top of each other so that you get a little explosion of volume there. Everything about the cut of the dress is done to highlight the curves of the body from the way the ruffles are set on the velvet to the fitted and curved lines of the body of the dress. It is wonderful. Excellent condition

Fully lined in a black cotton fabric and the interior bodice is lightly boned for shape and support. Inner waist stay that hooks to close  and the back closes with a fine metal zipper. Tagged a vintage YSL 44

Waist at inner waist stay: 14.5" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 32" from top of bodice to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3092

Reference Photos: (1-2) Cherie, Owner of Shrimpton Couture, by Erin Leydon.  /  Naomi Campbell for Yves Saint Laurent Rive Gauche, F/W 1987.

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 from the debut collection of Anthony Vaccarello for the Saint Laurent label. It was Look 43 on the runway. Vogue's Sarah Mower said of the collection in her review:  Vaccarello’s new position is an opportunity for which he closed his own line, to concentrate on the responsibility of reimagining whom the Saint Laurent girl might be. “She’s certainly not bourgeois or classic,” said Vaccarello. “She has a huge respect for Saint Laurent, but not in the first degree. So I thought of her taking a vintage dress and cutting into it....In particular, that dress was a puffed-shouldered number from an Yves Saint Laurent collection of 1982, and a black leather version of it opened this show.... Embracing the ’80s isn’t a stylistic stretch for Vaccarello, either; his own sexy looks have always stuck to that kind of glamor. He played on it with plunging bustier tops in leather or velvet, pelmet skirts and boyfriend jeans, a section devoted to draped gold lamé, iterations of skinny smoking suits, and variations on one-sleeved dresses."

This is one of those one shoulder pieces that formed the basis of the collection and certainly one of the more avant garde ones The body of the dress is a fine,lightweight black stretch wool fabric that falls perfectly on the body in a sleek sheath with low set pockets set on each hip. To this rather austere base, he has then added a deconstructed puffed drop sleeve. It is a daring design made out of a black lace that starts with that incredible sleeve and ends slanting down the chest. The lace is purposely finished to appear ripped and partially destroyed but the open holes are cleverly placed and planned for that perfect rock and roll defiance. The dress can be worn as shown on the runway with the lace exposing the front of the chest, however I just slightly adjusted it once on and belted it to sit a bit higher and it was fine. A nude undergarment would allow you to wear it either way. Or not if you dare. Never worn and still has part of the original tag still attached. The original retail on this was $3800USD. Excellent condition

Fully lined in silk and closes with a hidden set side zipper. Tagged a FR40. The pockets at the front are still temp sewn shut as they would have been from the original store.

Sleeve: dropped and cut extra long at 29"
Bust: 17" 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: 34" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3091

Reference Photos: (1) S/S 2017 Saint Laurent Runway, Look 43. Model: Chiharu Okunugi.  /  (2) Cherie, Owner of Shrimpton Couture, by Erin Leydon.

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 lovely little dress is one of the several versions that were produced that year for both the Haute Couture runway and the Rive Gauche line for Yves Saint Laurent. A version in pink and black was featured heavily in the  fall ad campaign for the Rive gauche line that year. I love the pink version as well but think that the all black is perhaps even more wearable for a larger variety of occasions.

The dress is lovely with its strapless, curved bodice and short, fitted silhouette. The main fabric that makes up the body of the dress has a slight bubbled textured feel to it which make it more of an interesting choice than a plain black fabric would have. I love the ruffle detailing that finishes the edges. This is a classic YSL touch and gives it a flirty, girlie feel that it would not have without that finish. The ruffles edge the curving neckline and go all the way around the back. Wider ruffles edge the hem and there he used three full layers of the ruffle set atop of each other so that there is a touch of volume and a flare to the skirt. At one hip is a large black bow done in the same silk taffeta that the ruffles are made from. This adds a saucy bit of volume at the hip. Everything about the cut of the dress is done to highlight the curves of the body from the way the hem is set to that final ruffle that sits curves across the back. It is wonderful. Excellent condition

Fully lined in a black cotton fabric and the interior bodice is lightly boned for shape and support. Inner waist stay that hooks to close  and the back closes with a fine metal zipper. Tagged a vintage YSL 38

Bust: 15-16" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: to 18.5" flat across from side seam to side seam
Length: 31" from top of bodice to hem and the top ruffle adds 2.5 inches above the top seam of the bodice

Modern Sizing Equivalent: XS-SML

Item# DD3090

Reference Photos: (1) Naomi Campbell for Saint Laurent Rive Gauche, F/W 1987.  /  (2-3) Yves Saint Laurent Haute Couture S/S 1987 Runway.

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

In an interesting turn of event, Alessandro Michele has recently re-issued the Flora and Fauna print that adorns this original vintage piece, including some dresses that bear a striking resemblance to the original. This dress is well documented having been featured in a couple of ads in its time period and versions of it reside currently in the permanent exhibit hall at the House of Gucci in Florence. The original  Flora print was created by artist Vittorio Accornero in 1966 and has become a house signature. This dress is absolutely gorgeous and is instantly recognizable. The cut is a forgiving shift shape that falls fairly straight from the shoulders to the hem. The neckline, cuffs and hem are finished with a gold toned silk border that anchors the print. The front dips down and I love the little horseshoe buttons attached to each other by a loop of chain that runs across. The print is spectacular and the colors are bright and vibrant. These naturalistic prints are said to have up to 37 colors making them, something that at the time was unheard of because of the high cost of using that many screens to create the prints on the silk. This is a true piece of fashion history and feels as modern now as it did when it was created. Presents as excellent condition with a note below.

Fully lined in a cream silk and slips on to wear. There is a modesty panel behind the front plunge that is sewn into place on one side and snaps into place on the other. Each cuff buttons to close. There are some faint marks under each arm. I photoed in on the dress form and also lying flat so that you can see how much of an impact it makes. It is very light and I feel that the dress is completely wearable as it is. Please review the provided photos of the area. They are the ones after the label and before the reference photos. Priced accordingly and otherwise is perfect. Gucci label present and the silk is signed as well.

Sleeves: 21"
Slight drop shoulders: 18"
Bust: 19" flat across from side seam to side seam
Waist: 18" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 35" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD3086

Reference Photos: (1) Gucci Ad, 1970s.  /  (2) The Gucci Flora Pattern Dresses, 1970s Ad.  /  (3-4) From the House Of Gucci in Florence.

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 top and print, from the 2014 Pucci runway, was shown on the runway in both Look 19 and Look 20 of the fall presentation. Even though it is a more recent piece, it is sure to become an important piece in terms of Peter Dundas' career. Style.com said that this was one of his best collections:

Over his five years at Emilio Pucci, Peter Dundas has soaked in the house's Italian jet-set heritage and turned the show into one of Milan's hot tickets. ...... Dundas tapped into his own history, and the result ranks up there with his best collections for Pucci.....Jersey was another house signature, but back in Emilio's day it never draped quite as fabulously. 

It is a top, although the way it is cut you could probably get away with wearing it as a mirco-mini if you are brave enough. It is made out of a slinky, fine light weight, jersey with that fabulous, signature, Pucci print, inspired by the archives, covering its surface. It has a stretch banding around the waist that hugs it in under the loose and easy bodice. Cut outs circle the upper bust to giving a sexy glimpse of skin. These cut outs are connected by a gold chain that runs around the upper edge of the neckline and creates a tantalizing series of open slashes. The neckline is cut extra wide so it sits off the shoulder and the cut below is extremely loose and easy. The workmanship that has been put into it and the draping of the jersey is extraordinary and shows a high level of  technique. This particular fabric is extremely hard to work with and the level of fit and draping that Dundas has achieved is wonderful. Never worn. Excellent condition

The lower banding is a double layer of the same printed jersey and the bodice is lined in an ivory jersey. The sleeves are unlined. It slips over the head to wear. Tagged a modern IT42, FR38, UK10 or 8US. The fabric does have stretch

Sleeves: approx 27"
Bust: to 27" flat across from seam to seam
Waist: open
Banding: 13-19" flat across from seam to seam
Length: approx 35" from shoulder to hem but when on you can wear it as a top or pull it right down as a tunic/micro-mini

Modern Sizing Equivalent: XS-MED

Item# S827

Reference Photos: F/W 2014 Emilio Pucci Runway Collection. (1 - Look 20, Model Sasha Luss  /  2 - Look 19, Model Ola Rudnicka.)

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 Johanna Ortiz shirt was a design exclusive to Moda Operandi so was made in  limited production from her Fall 2016 collection. Johanna, a native of Columbia is known for her signature ruffles and off-the-shoulder silhouettes both of which are playfully down in a soft, light denim for this short. A play of a the Western look it has deep blue cording that runs all the way around and snap buttons to close. The denim used is a dyed a pale blue. The collar is exaggerated and sits off the shoulders and the sleeves down with her signature puff sleeve finish. This style was called the Maxmiliana. It has its original hang tag. Excellent condition

Unlined and snaps to close down the front and on each cuff. Tagged a modern US8. Original retail $695USD. My photos of it and the photos of it on me are the best representation of the actual color. Meant to be loose and over-sized

Sleeves: approx 26"
Shoulders: open
Bust-hips: to 20" flat across from side seam to side seam
Length: 28" from neck to hem

Modern Sizing Equivalent: MED-LRG

Item# S826

Reference Photos: (1-2) Cherie, Owner of Shrimpton Couture, by Erin Leydon.  /  (3) F/W 2016 Johanna Ortiz Collection Photo.  /  (4) Moda Operandi Product Photo.

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 Christian Lacroix dress perfectly showcases his mastery in combining colors, fabric and textures. Every element on the gown has a depth and texture to it separate from the others and yet it all works perfectly together. A version of this dress, using the same metallic lace for its skirt, was shown on the Fall 1995 runway giving us the collection date for this piece.

Everything starts with the fabric choices on this one and the cut of the dress is there to simply support those choices. The body of the dress is a metallic lace that has a brilliant array of fall feeling colors. A deep brown lace is finished with a metallic thread that changes from deep coppers and russets to shades of gold. The colors flow into each other in a beautiful mix and cover the dress from just under the empire cut bodice to the extended train at the back. The skirt scoops and under the high set bodice and there is a metallic taffeta ribbon in a deep copper that sits between the bodice and skirt that is finished with a bow at the front. Above that is the bodice and it is done in a pure golden lace. An intricate pattern of flowers are subtly woven through the bust fabric. It is predominately gold but there are also delicate pink toned flowers in there as well. The dress flows to the ground, widening as it nears the hem and it has a longer train at the back. It is just exquisite. Excellent condition.

Fully lined black with a satin lining through the bodice area. It closes with a hidden back zipper and snaps close the gold lace of the bust area over the zipper. Tagged a 38.

Bust: 16.5" flat across from side seam to side seam
Under bust seam to natural waist: 14" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Bodice: 13" from top of bodice to waist
Skirt: 45" from waist to hem at the front, 52" to longest point at the back hem

Modern Sizing Equivalent: XS-SML

Item# DD1580

Reference Photo: F/W 1995 Christian Lacroix Runway 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.

After several hours of hunting for what collection this Jean Paul Gaultier was from, I stumbled across a photo from the men's collection from 2002 and it was the closest thing in feel to this jumpsuit. So I am tentatively dating to that time period. He did do these wide legged jumpsuit in the mid-1990s as well so it may be that the jumpsuit proceeded the men's collection and served as his own inspirational source for the men's look. Whether this date or the earlier, it is amazing.

The jumpsuit is cut to be avant garde in fit. It is loose on the body and the legs and the arms are cut extremely long. The body of the jumpsuit is made of a wool jersey knit in that deep muted burgundy color that Gaultier seemed to favor through many of his collections. It is cut on a very long and lean line. The pants flare out when they do eventually reach their hems and they are wide all the way down the leg. The body is loose with buckles at the side that allow you to add just a hint of shape through the waist. It zips all the way up to the high collar and you could of course leave it open as low as you dared. There is a hint of gathered along each side of the zipper. The front is detailed in a soft black leather and here is the nod to the flight suit. Down each side of the middle zipper is a panel of leather that has two zipped pockets and a large soft pouch pocket as well. The leather wraps around the waist and across the upper back. Extra extra long sleeves that can be pushed up the arms, trimmed and finished in leather are the final perfect touch. Excellent condition.

Unlined and zips at the front to close. Tagged a US8. The hem of the pants are stitch finished but not turned up. The very occasional pill on the fabric along the inner arms but extremely minor and unavoidable with this fabric, this is natural wear. Very minor and mentioned for accuracy only. The fabric has stretch and it is supposed to be very oversized. The cut will fit a range of sizes

Sleeves: 32"
Shoulders: 15.5"
Bust: 19-22" flat across from side seam to side seam
Waist: 14-15" flat across from side seam to side seam
Hips: 18-22" flat across from side seam to side seam
Length: 68" from neck to hem,
Torso: 36" from neck to top of inseam
Inseam: 32" from top of inseam to hem

Modern Sizing Equivalent: SML-LRG

Item# DD3084

Reference Photos: (1) Cherie, Owner of Shrimpton Couture, by Erin Leydon.  /  (2) F/W 2002 Jean Paul Gaultier Menswear 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.

On June 15, 1978 Lisa Najeeb Halaby wed King Hussein wed and she became the Queen of Jordan. She chose a Christian Dior gown, designed by Marc Bohan, for the ceremony and instantly became a style icon. Harper's Bazaar named the gown one of their 'The Most Iconic Royal Wedding Gowns of All Time'. That same year my client commissioned this version of that dress. I have also included a reference photo from the Metropolitan Museum of a top from the same collection that year that also has the open cut work 'ladder' technique. The dress for sale today comes direct from the daughter of the original Haute Couture client who had it commissioned.

The attention to detail shown in every hand done stitch is breathtaking. It is entirely done by hand and the silk chiffon is of the highest possible grade and as fine and light as a feather. The top floats over the torso for an easy fit and is left unlined, which makes it semi-transparent. There is a double row of that open 'ladder' stitch edging the top portion of the bodice. The skirt falls in a column of bias cut silk chiffon. Detailing the lower half of the skirt are six rows of that same open ladder design that is used on the bodice so that it is in perfect balance. It comes with the original flower belt. The belt combines an antique gold metal thread lame that is then detailed with a huge silk flower. You can wear around the waist as intended or even choose to wear at the neck or as a head piece. I also photoed it without the belt so that you can see how versatile it could be. There is also a square silk chiffon scarf that came with it that is not photoed but will be sent with the gown. It is truly a wonderful dress and when you see it in person you will be astounded at the level of craftsmanship and care put into the construction. A masterpiece and fit for a modern day queen. Excellent condition.

The skirt is lined in second layer of the same silk used on the exterior while the bodice is unlined. It is completely made by hand as the parameters of Haute Couture dictates. It closes with a handset, low side painted metal zip below the waist and and above that the bodice closes with a series of hand set, silk covered snaps. Inner waist stay the hooks to close. Note there is no label but it is true Haute Couture Dior. Note the color has a slight hint of terra cotta to it in person

Bust: 17" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: open
Bodice: 18" from shoulder to waist but drapes to approx 15" when on
Skirt: 39.5" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2365

Reference Photos: (1-2) Queen Noor in a Christian Dior Gown & King Hussain of Jordan on their wedding day, 1978 (credits unknown)  /  (3-4) Dior Evening Ensemble from The Metropolitan Museum of Art's Online 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 is the twin jacket of the runway Look 32, from the fall 2002 Prada show and it was shown on Kristina Chrastekova. on the runway. Style.com's review of this show in part said: "In a show that was densely layered with references to the history of fashion, Prada cut a strong, curvaceous and erotically charged line to give grown-ups a whole new reason to buy." The jacket was also heavily photoed for editorial that season, most notably by Mario Testino on Gisele Bundchen in Prada for the September issue of Vogue.

The jacket is made out of American mink that has been pieced together with a complex technique that used little strips of the fur like a fabric. This creates the deconstructed look that you see and gives it a more casual and interesting texture. It is cut to fit slim on the body and ties at the waist to draw in the shape. Hidden pockets sit on each hip. The collar is neat and tidy and the the edges left with an almost raw feeling that has the silk that fur is set in peaking through. The interior is finished with a semi-transparent silk chiffon giving it a very feminine feel. It has never been worn. Excellent condition.

Fully lined with a brown silk chiffon and ties at the waist to close. Tagged a Prada 40

Sleeves: 24"
Shoulders: 15"
Bust: 17.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 27" from top of neck to hem

Modern Sizing Equivalent: SML-MED

Item# C477

Reference Photos: (1-2) F/W 2002 Prada Runway, Look 32. Model: Kristina Chrastekova.  /  (3) Gisele Bundchen in Prada for Vogue, September 2002. Photo by Mario Testino.

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

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

Norman Stubb’s was the designer behind the hand constructed, appliquéd, and sometimes painted leather jackets that were made in the workshop of East West Musical Instruments Co, originally on Castro Street in San Francisco, and then later on Folsom from 1967 -1979. This design is the called 'Del Rosa'.

This jacket was worn and loved - most East West jackets were. They were not a fashion statement, they were a lifestyle and they were bought to be loved and worn. In my world, most vintage I source is pristine but with a jacket like this, the patina and wear it has adds to its appeal and makes it more authentic. The cut is a slim wrap and tie fit that falls to the hips in length. On the front are hand cut, rose appliques in a different color leather. These are accented by hand cut leaves inset into the jacket in a third color of leather. Vertical seaming and panels of leather give it added texture. The exterior of the jacket is in excellent condition with natural patina. Please review the notes below regarding interior.

Fully lined in a deep copper silk rayon. It has no closures and ties to close at the waist. The leather label is numbered 6202 7 and signed Del Rosa. The back of the dry clean tag is also marked in pen Del Rosa. There are two small spots on the exterior - one on the sleeve and one on the edge of the front collar. The back inside collar shows wear and patina. Overall excellent. The inside shows discoloration tot he fabric around the arms but is otherwise excellent. All areas photos and shows after the label photo.

Sleeves: 21.5"
Shoulders: 14.5"
Bust: 16" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 21" flat across from side seam to side seam
Length: 26" from top of neck to hem

Modern Sizing Equivalent: XS-SML

Item# C476

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

A dress from this same 1976 collection was photoed on Tina Chow by David Bailey for Vogue. I have included those reference photos here and you can clearly see the same ribbon detailing and pleating technique used. Pieces at this level and beauty by Bill Gibb are extremely rare and it is a privilege to have such a gorgeous example of his work in the shop.

Bill Gibb was one of the most influential designers in 1970s Britain and his clothes were sought out and worn by the rich and famous. His work has a high fantasy element and he was crowned Designer of the Year in 1970. Much of his work verged on couture and he was unrelenting in striving for perfection. This dress set is amazing and I feel that it is a high couture, fantasy version, of the one worn by Ms. Chow. It is made up of two pieces  - a long maxi skirt and a top that has an attached, full length net jacket. The inner skirt is gorgeous in its own right. It is made out of a fine silk chiffon with a soft pink silk interior. The exterior silk chiffon is knife pleated so that it has a lot of movement. The outside layer is finished with that pretty ribbon finish made up of three stripes of silk satin ribbon in a pale blue, a pink and a mint green. This same striping edges the inner portion of the top. The inner top is made from the same silk and chiffon combination as the skirt and treated with that same knife pleating technique. Sitting over, and attached to this, is a long jacket and it is here that the high couture fantasy aspect of the piece goes into full play. The neckline is cut wide across so it almost sits off the shoulder. The fabric that sits over the inner silk top is a fine ivory netting that has a stunning design of flowers and vines that trail up from the hem to the top. They are denser around the hem. Each bit of that design is hand embroidered with a multi-colored pastel thread that has a metallic silver running through it so that it has a subtle glint. It is like wearing a literal work of art. The combination of the fine embroidery work and the metallic of the silver is incredibly beautiful and delicate in feel. All of the edges are all finished with silver cording and there is a ling tie of it at the neck. The sleeves are even more incredible. They are cut extra long and each has an inner pleated base made out of a pale pink silk chiffon that is knife pleated like the skirt and inner top are. Over this is a slightly more ivory toned silk netting that poufs out from the shoulder and is caught up just below the elbow. It then flares back out, widening as it reached the end of the sleeve. Each sleeve is densely hand embroidered with that same metallic thread as the body of the jacket. Long silver cords hang down from the seam at the elbow. This is a rare and absolutely amazing piece that is even better in person. It would even make a beautiful choice for a bride who is looking for an alternative to the traditional wedding gown. Excellent condition

Both piece are fully lined in a pale pink silk. The skirt closes with a metal and nylon zipper. The top slips on to wear with snaps and hook and eye at the very top of the inner most silk part. Museum quality and appears to have never been worn, or worn very little. The colors in person are softer and bit more pink feeling in person. So much better in real life.

Skirt
Waist: 13.5" flat across from side seam to side seam
Hips at inner lining: to 20" flat across from side seam to side seam
Length: 44" from waist seam to hem

Top/Overlay
Sleeves: approx 31"
Shoulder opening: approx 17"
Bust: to 18.5" flat across from side seam to side seam
Waist- hips: open
Length: 25" from top of shoulder to hem of inner top, 58" from shoulder to the full length hem

Modern Sizing Equivalent: SML-MED

Item# DD3081

Reference Photos: Tina Chow in an ensemble by Bill Gibb. Photographed by David Bailey for British Vogue, April 1976.

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 Nina Ricci Haute Couture house was founded in 1932, at 20 Rue de Capucines in Paris and became one of the pre-eminent couture ateliers in the world. In 1964, Gérard Pipart succeeded Jules-François Crahay, Nina Ricci's former designer assistant who took over the atelier in 1954. Over the following three decades, his Haute Couture vision "celebrated a flamboyant woman and his ready-to-wear found a loyal following among the most stylish women of the day." This gown is from the Fall 1994 collection under his creative direction and I have included the runway reference photo here. In an interview with WWD in 1995, Pipart mentioned the state of couture upon his arrival to Nina Ricci, "When I arrived everyone was predicting the death of couture, so I was keen to get in for what were meant to be the final few years. And, despite what people like Pierre Bergé and many others predicted, couture has lasted a lot longer than anyone ever thought." Pipart's designs were often focused on avant-garde structures like this amazing creation,

This gown, from the Fall 1994 collection, is a wonderful example of Pipart's vision for the house and is a stunning example of the work that the atelier was producing during this time period. The gown is created from a hand made, pale dusty pink lace. Each floral design in the lace has been outlined with a fine silver metallic cording and the interior of each flower detailed with a metallic pink cording. Every stitch is done by hand and the hours that would have been put just into the construction of the dress and the making of the lace are mind-boggling. The skirt is finished in a structured tulip style with the front crossing over itself and set on a beautiful upwards curve, so that when you walk you see a glimpse of leg. At the back is an inset of a matching colored pale pink silk. This inset of silk has has been sharply knife pleated and expands and opens into an extensive train. A decorative row of silk buttons details each sleeve and trail down the back for the perfect finish. My client purchased this fairly recently and wore it for her wedding dress, changing into another dress for the reception. It is the perfect choice for a bride who does not want a traditional wedding gown but would also be a stunning gown for a gala event. Excellent overall condition with notes to review below.

The gown is fully hand lined in pink silk and closes with a back, hand set, zipper.  Has an inner waist stay and has hand set snaps to close the train over the inner zipper. Zippers also run down each cuff behind the buttons. Finished to Haute Couture standards and entirely made by hand. The proper Haute Couture label is present. Note that the dress shows grubbiness and marks under the hem and along the train and the edge of the hem from where it hits the ground. There is some discoloration under each arm on the inner lining and a teeny spot where this shows through along the edge of the seam. It is not anywhere that would show in a photo once on. I have photoed all of these areas and they are provided here after the label photo. Note that my client wore this gown for the ceremony and then changed - all of the current marks on the dress were all present when she purchased it. She had the back silk train re-pleated and the side seams were let out slightly, all done by Madame Paulette's in NYC, work that was approximately $1500 to complete. Everything mentioned is very minor overall and it is stunningly beautiful in person. None of the items mentioned effect its presentation when on.

Sleeves: 24"
Shoulders: 15.25"
Bust: to 18.5" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: open
Bodice: 19.5" from top of bodice to dropped waist
Skirt: approx 26" from waist to shortest part where the front curves meet. It curves to 42" at the sides and drops to 49" at the longest part of the lace covered skirt at the back. The silk pleated train extends to 61" from the dropped waist

Modern Sizing Equivalent: SML-MED

Item# DD3080

Reference Photo: F/W 1994 Nina Ricci Haute 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 twin of this gown resides in the permanent collection of the Victoria & Albert Museum. They dated it with a general reference to the 1960s but I feel that it has more the feel of the 1977 collection as per the reference photo that I have provided here. Pieces at this level and beauty by Bill Gibb are extremely rare and it is a privilege to have such a gorgeous example of his work in the shop.

Bill Gibb was one of the most influential designers in 1970s Britain and his clothes were sought out and worn by the rich and famous. His work has a high fantasy element to it and he was crowned Designer of the Year in 1970. Much of his work verged on couture and he was unrelenting in striving for perfection. This dress set is simply amazing and a wonderful example of his work. It is made up of two pieces. The inner dress is amazing all on its own even without the piece that tops it. It has an empire cut with a halter style bodice that is suspended from the shoulders by two tiny straps. The fabric is a fine ivory netting that has a gold thread applied to it to form the lace pattern. This runs over the dress from the top of the shoulders to the hem. The pattern gets denser as it nears the hem and really makes the gold take center stage. The skirting of the dress has been finely pleated and the combination of those tiny pleats and the gold is incredibly beautiful and delicate in feel. It has a lining of the palest pink silk that gives the netting just a touch more of a pink feel to it in certain lights. Over this is a long, sleeved overlay or jacket, that is made out of a pale pink silk chiffon that has been embroidered by hand. It has four panels of fabric that split between each right up to the waist line of the dress. These sit on each at the front and then two more at the back. The opening between each panel so fabric allows the gold of the dress to show underneath when you move. The chiffon is a pale, dusty pink in color and the embroidery work on this outer layer is done in a combination of soft corals, mint and ivory. The tiniest little seed pearls detail parts of the design. All of the edges of the outer jacket are finished with gold lace. This is a rare and absolutely amazing piece that is even better in person. It would even make a beautiful choice for a bride who is looking for an alternative to the traditional wedding gown. Excellent condition with one minor note to review below.

The dress is fully lined in a pale pink silk and closes with a side metal and nylon zipper. The overlay is unlined and slips on to wear with hook and eye at the very top. Note that it was a bit tiny on my dress form and will fall even better on the proper sized girl. Museum quality and appears to have never been worn, or worn very little. There is one small storage spot on the front panel of the chiffon jacket near the lower edge that is shown on the photo after the label shot. The colors in person are softer and more of a true gold and very soft dusty pink.

Dress
Bust: to 16" flat across from side seam to side seam
Waist at seam: 15" flat across from side seam to side seam
Hips at inner lining: 19.5" flat across from side seam to side seam
Bodice: 13" from top of straps to empire waist seam
Skirt: 44" from waist seam to hem

Overlay
Sleeves: 19"
Shoulders: 14"
Bust: to 17" flat across from side seam to side seam
Waist- hips: open
Length: 52" from top of shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD3079

Reference Photos: (1) Tree Allen in Bill Gibb by Barry Lategan, 1977.  /  (2) Bill Gibb Set from the V&A Online 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.

For the Vogue review of the Spring 2016 Vetements show, Sarah Mower stated: "No doubt about it: The flagging spirits of Paris fashion have had a shot in the arm since the Vetements collective, led by Demna Gvasalia, came on the scene. Their channeling and upgrading of everyday street style into high style has exerted a massive influence as designers and brands both established and even younger have found it impossible to resist the gravitational pull of Vetements’s outsize tailoring, printed dresses, and thigh-high boots. The feeling that a young, outsider energy is rushing into the spiritual vacuum which currently exists at the center of the establishment is healthy, exciting, and perfectly timed...what was noticeable in this mix was that, rather than just being subversive for the sake of the gestural politics, Vetements means business. Its hoodies have a cult appeal in one direction, but for the fashion congregation there is also so much to believe in here: not just the wearable, desirable printed blouses and dresses, but also the hope that this is the beginning of a new chapter in the life of Paris fashion."

This dress was one of the favored among the street style set and was photoed endlessly it seemed for various editorials. It sold out world wide and was wait listed. I am very pleased to have sourced one that has never been worn at all, still has all its original tags attached and is absolutely perfect. Girls often cut the longer hanging bits that trailed behind the dress but this one is still entirely original. It feels as fresh and avant garde as it did then and will absolutely be a future collectible. The color is a deep blue base with a floral print over that and the cut is oversized. The shoulders are cut a bit more fitted and have a ruffled cap that extends their shape. The sleeves are ling and detailed int trailing, deconstructed, twisted ruffles. More of that  ruffles highlights the collar, the waist and the hem. It is remarkable and a true piece of fashion history. Original tags attached. Excellent condition.

Unlined in the same chiffon and slips on to wear with buttons at the front. Tagged a MED. The jersey has lots of stretch. It will fit a range of sizes because of this. Has an extra button

Sleeves: 25" to actual end of cuff
Slightly inset shoulders: approx14"
Bust: 18-21" flat across from side seam to side seam
Waist: 17-19" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of bodice to waist
Skirt: 29" from waist to shortest point of hem, 42 to longest and then the ruffled detailing hangs approx another 18" past that with strings that are even longer past that

Modern Sizing Equivalent: XS-MED

Item# DD3076

Reference Photo: F/W 2016 Vetements, Look 41.

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 an important piece from the 'Les Chinoises' Collection from Fall 1977.  This collection corresponded with the launch of Yves Saint Laurent’s new fragrance that year - Opium. The Musee Yves Saint Laurent site says of this collection: "China served as the couturier’s new source of inspiration, and its folklore fed his imagination. Saint Laurent drew on the colors, shapes, and materials of such places as Africa, Russia, Spain, and China for his own extraordinary creative journeys. Yves Saint Laurent, told in Elle Magazine in December 25, 1995; 'Beijing, however, remains a dazzling memory. The China that I had so often interpreted in my designs was exactly as I had imagined it. All I need for my imagine to blend into a place or a landscape is a picture book. … I don’t feel any need to go there. I have already dreamt about it so much.'" It is interesting to see that the fabric that was used for this dress was repeated on several pieces through out the collection showing he love for this particular pattern.

At first glance the dress seems very full but don't let its volume fool you, these can still be immensely flattering on if the proportions are kept in balance once on the body and styled properly. The silk used for the main portion of the dress is very light and fine so that it moves with the body when you move and shows off the curves underneath unexpectedly. It is seamed at the waist but this is dropped and does not bring it in shape wise but rather adds to the volume. The collar is magnificent and it is structured in stark contrast to the silk underneath. It almost feels like a piece of armor as it sit across the shoulders. It is made of a black velvet and detailed with heavy gold and black silk cording that edges the neckline and the outer edge of the velvet. Three huge tassels dangle off the front to give it movement and tie in the 'Les Chinoises' theme. At the back it closes with two knotted cord buttons and below that is a slit that runs down to past the waist for an unexpected flash of bare skin. The body is full and loose with the skirt brought in a bit around the knee for shape. It can be belted for a more defined shape. Each sleeve is cut full to pouf out above the cuff.  The deep copper gold print of the silk is gorgeous silk and the color almost seem to have an inner glow to it. It is truly a brilliant Haure Couture dress and it is from one of the most important of all of Yves' collections. A masterpiece. In excellent condition.

Unlined through the body and the collar is backed in silk with inner stiffening. All the interior seams are hand finished to Haute Couture standards. It closes at the back neck with two knotted cord buttons. Each cuff has hidden hook & eye to close. Small hidden pockets along the side seams at the hip. Finished to Haute Couture standards and entirely done by hand. Haute Couture label present and numbered 42477. The open cut will allow for a range of sizes

Sleeves: approx 23"
Shoulders: approx 15" and the velvet extends past that about an inch
Bust: to 20" flat across from side seam to side seam
Waist: to 19.5" flat across from side seam to side seam
Hips: to 25" flat across from side seam to side seam
Length: 43" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD3073

Reference Photos: (1) Yves Saint Laurent A/W 1977 Haute Couture Collection.  /  (2) At right, model Lisa Taylor, wearing a long chrysanthemum print crepe de chine robe over an ankle-length skirt by St. Laurent; at left, model Beverly Johnson, touching Lisa's hair, wearing a floral print gown in crepe de chine over a back-wrapped blouson dress in black silk jacquard, by Yves Saint Laurent. Photo by Albert Watson for Vogue, 1977.  /  (3) Yves Saint Laurent Ensemble, autumn/winter 1977–78 haute couture, Polychrome printed black silk damask. Courtesy of Fondation Pierre Bergé – Yves Saint Laurent, Paris. Photo by Lia Chang.  /  (4) Collection board. Autumn-winter 1977 haute couture collection. © Musée Yves Saint Laurent Paris.

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