This was the collection where Donatella went back to using and styling her models to look like super models like her brother Gianni had done in the past. Vogue said that; 'The aura of glamour that sparked off the flying hair and luminous faces of Carmen Kass, Daria Werbowy, Eugenia Volodina, and Karen Elson was a strong reminder of what once made Versace electrifying.' The collection focused mainly on daywear but a very Versace notion of that. This was Look 25 in the line up and was the strongest piece of the shorter dresses presented. Its twin ended up being the one used for the ad campaign that season and was shot on Demi Moore who looked utterly fabulous in it. I am very happy to have that shot, runway photos and a video so you can see how amazing this dress is once on the body. It is gorgeous.

The dress is made out of a printed silk chiffon that combines numerous abstract versions of various exotic skins. These are laid out in a pattern that mixes and matches them all and this effect is heightened even further by the detailing work that is done on the skirt. The dress is cut to highlight every curve. The bodice is a single layer of the silk chiffon. To keep it in place you slip your arms through the sleeves and then simply tie it around the neck. The front is gathered into two halters that run from the high set waist to the attached scarf at the neck and there's a slit that runs down the center to leave a sexy glimpse of bare skin. The sleeves are long and simple, narrowing down slightly as they reach the wrist. The back is left bare across the top and that long scarf falls from the neck to cascade over it for a bit of a peekaboo effect that is very sexy. The skirt starts from under the bust and is fitted through the waist. Inside there's a bit of a stiffened net corset to help shape and hold it in place. It is fitted over the hips and narrows down as it reaches the hem. An small open vent runs up the back to allow you to walk. The skirt is quite remarkable with the long strips of fabric sewn and overlapped horizontally around it. When you look at it close up you realize it that it's all individual strips and it is quite remarkable. It is stunning and so Versace in feel. Excellent condition

The halter part is unlined and the skirt is lined in a black silk chiffon. There is a stiffened net partial corset that runs around the interior waist for shape. It closes with a hidden set side zipper and ties into place around the neck. No size tag present. It appears to have been worn very little if at all.

Sleeves: approx 25"
Shoulders: no true defined seam
Bust: to 17" flat across from side seam to side seam with room for an A-C cup at front, maybe a touch more if needed
Seam under the bust: 15-16" flat across from side seam to side seam
Natural waist: to 13.5" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Bodice: 10" from neck to seam under the bust
Skirt: 29" from seam under the bust to hem

Modern Sizing Equivalent: XS-SML

Item# DD4216

Reference Photos/Video: (1-4) Fall 2005 Versace Runway, Look 25. Model: Hana Soukupova.  /  (5) Demi Moore for the Fall 2005 Versace Ad Campaign photographed by Mario Testino.

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 one of the best dresses from the Spring 2017 collection. It instantly sold out and was photoed on everyone lucky enough to get their hands on one. Its twin walked the runway and Ellie Goulding wore hers to Cannes. “Everyday femininity” was the main inspiration behind the collection and Vogue noted that the usual pant loving Marant; "..admitted that she’d been feeling the idea of dresses more than usual, and the best of the lot were as romantic and flirty as the designer gets: replete with ruffles, covered in Liberty London-style floral prints, and finished with the billowing statement sleeves we’ve seen all over the runways for Spring." This was Look 29 on the runway and one of the best of those dresses.

The dress is in mint condition and was never worn. It still has that crisp, just off the rack feel. It is the perfect easy little summer dress and still feels relevant and fresh. It is made out of a crisp cotton mix covered with a fabulous print that has a strong pops of blue running through it. I love the crispness of the fabric. It is what allows the dress to hold it shape once on. The dress is cut to skim over the bodice and dips down on one side to leave your shoulder and arm completely bare. On the other side there is a dramatic ruffle that starts at the neckline, circles around the shoulder and then trails all the way to the hem at the back. The waist is seamed and the skirt has the illusion of being wrapped in place around you. I love how the hem curves up on the side to play into that wrapped feel. The bottom of the hem is finished with a 6 inch ruffle and this lets it flare out and away from you. The dress comes with a matching tie belt so you can cinch in the waist and I've seen this dress worn with a variety of other belts that really change up the look of the dress. Excellent condition.

Unlined and closes with a hidden set side zipper. Tagged a modern 40. It was never worn and is new without tags

Bust: to 18" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 32" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4215

Reference Photos/Video: (1-3) Spring 2017 Isabel Marant Runway, Look 29. Model: Yasmin Wijnaldum.  /  (4-5) Ellie Goulding at Cannes Lions Entertainment in France, June 2017.  /  (6) Spring 2017 Isabel Marant Matches Fashion Lookbook.

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 the designer site the description of Cecilie's work says is  best; 'Cecilie Bahnsen operates at the intersection of couture and ready-to-wear to create luxury clothing with a relaxed, timeless style. Celebrating the traditions of fine French fashion and the design culture of Scandinavia, the collections combine craftsmanship and details with architectural volumes and sculptural silhouettes to offer a contemporary take on femininity. Unique fabrics are hand-designed each season by founder and LVMH Prize finalist Cecilie Bahnsen, a Copenhagen native who returned to her home town to found her eponymous label in 2015 after studying at the Royal College of Art in London and working with couture houses in Paris.' A version in a white quilted fabric walk the runway for Fall 2019, Look 26 and it was also released in black of which we found many reference photos of it. It is my understanding from my client that a very limited amount were made in the ivory silk faille that I have today. It is stunning in this fabric and colour.

This particular shape is part of her core aesthetic and what catapulted her to fame. These voluminous baby doll dresses are a signature and this one is stunning. These are dresses that you can wear flat boots with and stomp about and then with your next wear you could add your highest heels, pile on the jewellery and be as 'ladylike' as you could possibly be. It would also make a wonderful wedding piece for a bride looking for something nontraditional or as a piece worn to one of the events surrounding a wedding weekend. The fabric is a synthetic that feels and looks like a silk taffeta. It has a lot of volume while staying as light as air. The neckline is squared off and the sleeves are big and poufed. The dress falls in three tiers. The first lays flat across the bust and then the two under that widen out significantly for that baby doll look. At the back the waste dips down on a pretty curve and panels come across the back above that and tie into place with wide black velvet ribbons. This leaves a peek-a-boo effect of bare skin behind the ribbons and panels. The back of the dip sounds slightly lower than the front and the effect is just romantic and pretty and whimsical. Her dresses are high fancy and this gorgeous ivory one is no exception. Excellent condition.

Behind the bust is lined in a ivory silk and the rest of the dress is unlined. It zips to close at the side with a hidden set zipper. The black velvet ribbons tie the back into place. Tagged a UK6 US2. It looks to have been worn very little if at all.

Bust: the front panel is 15" flat across from side seam to side seam but the adjustable back allows you to adjust it by quite a bit up from there
Waist: the front waist seam is 13" flat across from side seam to side seam but the dipped back allows you to adjust it a bit up from there and it would just lie less dipped. The total room is 30" around bit it is meant to dip a bit
Hips: open
Bodice: 11" from top of shoulder to seam under the bust
Skirt: 25.5" from seam under the bust to front hem, 30" to the back em

Modern Sizing Equivalent: XS-SML

Item# DD4213

Reference Photos: (1) Fall 2019 Cecilie Bahnsen Runway, Look 26.  /  (2-5) Various on-model shots. Credits 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.

The twin of dress walk the runway as look 42 complete with a veiled hat and bouquet of flowers. The intention for this to be used as a wedding piece was clear. Alber Elbaz cited Acapulco as an inspiration and its not hard to imagine that he was thinking is a beach wedding for this gorgeous little dress. In Vogue's review of the collection that noted the same saying; 'You could see it in the lime-and watermelon-wedge pendant necklaces, the straw hats decorated with tropical fabric flowers, and the raffia-accented flats'. This was one of the four final dresses of the show and all four were ready-to-wear wedding dresses, which is not something you normally see mixed in with a collection to that extent. The dress was also featured in Vogue Spain that season and was a sell out at retail. It is just gorgeous.

This is such pretty and easy to wear dress. It is actually a very simple shape that is meant to skim over the bust, waist and hips. It is strapless with a pretty curve to the top neckline that is very flattering. It has an inner built-in boned silk corset to hold it in place and the dress floats over that, widening out as it nears the hem. The fabric is a woven silk that has a slight transparent feel to it. It's then lined in an inner ivory silk layer that makes it opaque enough to wear but still keeps that light fluffy feel. It's very light in weight and just feels like to floats around you. The front is covered in layers of ruffles. These are actually three long ruffled pieces that are set in curving rows over the front. This curving back and forth technique lets them be fuller at the sides and adds to the volume that you see. It would be flatter if they were just strips of ruffles sewn on independently. It's quite genius. The ruffles all have a bit of stiffening at their ends to help hold their shape and have a raw finish. The back is left ruffle free so you get some shape. The dress can be worn full and easy or you can use the matching wide silk satin ribbon belt to send in and give it added shape. In the photos where I have shown it with the ribbon I tied it just under the bust but you could of course place and tie it wherever it suits you best. It's flattering, shows a mile of leg, and is a really fun alternative to the more traditional wedding dress. And even if it's not what you may think of as a main wedding dress it would be a great dress to change into for the reception. And it has enough style that you could wear it for any occasion. It is fabulous. Excellent condition with a note below

Fully lined in an ivory silk and has a built-in boned corset. The corset zips independently at the side and then the outer dress zips to close over that. Comes with its original matching belt. Tag a size 38. See some marks on the inside bodice and there's the faintest touch of discolouration on the top part of the ruffles on each side. None of these would be seen once on. A touch creamier in person.

Inner bust: 16" flat across from side seam to side seam
Inner waist: 13" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 29" from top of bodice to hem

Modern Sizing Equivalent: XS-SML

Item# DD4212

Reference Photos: (1-2) Resort 2010 Lanvin Collection, Look 42.  /  (3) Tiiu Kuik in Lanvin photographed by Michelle Ferrera for Vogue Spain, November 2010.

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

This gorgeous dress is from the Fall 2003 Dior Boutique Collection and is a staggeringly beautiful example of the work John Galliano was doing during this time period. It was featured in the ad campaign on Angela Lindvall that season in red and walked the runway on Ana Beatriz in white for Look 14 of the presentation. I love having all these reference photos for you so that you can see just how amazing the dress is. It is just spectacular and one of my favorite Dior pieces to have come into the shop.

The dress is made out of a stretch silk feeling fabric that hugs your curves amazingly once on the body. A wide strap extends out from the sides and curves around the back of the neck. The bust dips down and is gathered in and towards the center. This gathering extends from five separate horizontal panels stacked on top of each other and brought into the center knot to emphasize the breasts. Below that he continues to play with this horizontal panel and knot idea bringing that gathered feel down in three other spots on the front of the dress. Panels of fabric are set on curves and angles which allow him to help shape it around the body. It has a touch of a 1940s dress feel to it and is extremely sexy on the body. The back is a simpler version of the front with no knots present. The halter there dips down to leave your entire upper back bare. There is a small slit set off-side under the center of the very bottom knot at the front and this allows a little bit of added bare leg to show. It is incredibly good and a well documented piece of fashion history. Excellent condition

Unlined and closes with a hidden set side zipper. There are two fabric buttons to close at the back of the neck. No size tag present. The fabric does have some stretch

Waist: 15-17" flat across from side seam to side seam
Hips: 18-21" flat across from side seam to side seam
Length: approx 43" from top of neck to hem
Slit: 9.5" from hem up

Modern Sizing Equivalent: MED-LRG

Item# DD4207

Reference Photos: (1-3) Fall 2003 Dior Runway, Look 14. Model: Ana Beatriz Barros.  /  (4-6) Angela Lindvall for the Fall 2003 Dior Ad Campaign.

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 fabulous fall 1970 dress from the Valentino boutique label. Valentino launched his ready to wear label in 1962, just two years after opening his first salon in Rome. He eventually expanded and added other boutiques. His first New York boutique launched in the fall of 1970 and it caused a sensation. Traffic was backed up 3 blocks with everyone who was anyone trying to get in on opening night. More boutiques followed including one at Bergdorfs. He encouraged his couture clients to also shop in his boutiques. He wanted everyone to have the Valentino experience and it should be noted that he often carried the lines he created for his Couture label into the boutique work. The primary difference was in the fabric and construction details but they were still remarkably close in quality. This especially held true in the early days. The line between the two labels was often blurred and on this dress you can see that in the hand finishing that is has. This one is extra fabulous because it is so well documented.

When searching for the date for the dress we found documentation that has both Marisa Berenson wearing it for Vogue that season and also Naomi Simms who wore it to that opening of the New York Valentino boutique. Which gives it a significant place in Valentino's history. The dress is gorgeous and it is made of a black silk chiffon that has a ribbon weave fused directly into the silk. This gives it an oversized thatched woven effect. In between the ribbon weave the silk is semi-transparent and the play between the two opacities is stunning in person. The entire dress is backed with a black silk chiffon lining and that gives the more transparent parts a backdrop so that the silk feels like it has depth. To highlight the design even more is that gorgeous print made up of a pink and purple and gold coloured threads that run over the entire dress. I love how the pattern is heavier at the bottom and then slowly makes its way up to be just scattered paisley's on the black backdrop by the top of the dress. The collar is small and neat and the sleeves are cut to pouf out above the buttoned cuffs. The sleeves are not lined so you get a sense of transparency there. The dress is cut into a chic sheath that skims over your bust, waist and hips until it flares out just slightly at the hem. There's no seam to break the line at the waist, instead he has placed two square pockets on each hip to detail this area. The pocket are amazing. Each zips to close from corner to corner and the zipper is then detailed with a long knotted and fringed tassel. Another matching tassel details the zipper that closes the front of the dress. In both the reference photos a sash was wrapped around the waist for added shape and you could easily re-create that look. I think it looks equally as well worn straight and sleek. It's nice to have both options because the dress looks dramatically different each way. It is gorgeous and very well made. Excellent condition.

Fully lined in a black silk and zippers to close up the front as described above. Each cuff buttons to close with two silk covered buttons and each pocket zips to close. There's an extra button in the lining of the dress. Hand finishes. The dress appears to have never been worn or worn very little. Tag a size 8 with a hand written size label.

Sleeves: 14"
Shoulders: 23.5"
Bust: 17.5" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 52" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD4205

Reference Photos: (1) Marisa wearing Valentino, photo by Elisabetta Catalano in Rome, Vogue September 1970.  /  (2-3) Naomi Sims attends the grand opening of Valentino Boutique on October 12, 1970 in New York City.

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 second time I have has this dress in the shop and this time I found one with a matching crop jacket. I loved this dress the first time and I love it even more this time. James Galanos launched Galanos Originals in 1951. He was only 27 years old.  By 1954 he had won a Coty award and the Neiman Marcus award. By 1958 he was producing clothing that could range in price from $200 to $3000, an astronomical price for ready-to-wear for that time period. His ready-to-wear was made to couture standards and on par with the French couturiers of the time. Grace Kelly was a huge fan and his work is held in all of the major museums around the world. He is one of my personal favourites and this dress is a stunning example of his work.

The label on this dress is the one that dates from 1954-1963 and when researching within that time period we found a dress in the Met Museum's collection with the same label and that uses the same technique for the way that the skirt is set into the bodice of the dress. The 1957 dress in the Met's collection was also photoed for Vogue that year. I have included both those for reference and it gives you a great idea of how this dress will look on the body but i think this one is even better with its more bare upper body. In the Vogue's description at the time the skirt was described as being; 'narrow in outline, but with beautiful easy folds from the waist, falling in self contained spirals' which is a lovely way to describe the way that it is set into the dress. I love the bright floral print that covers the entire dress. It gives it a bit more of a tropical feel then the more formal version held at The Met. The fabric is a beautiful light weight silk that is completely covered with the large flower print that you see. The colours in the print are spectacular and combine a bright orange, yellow and green on a black backdrop.The skirt is cut so that it gathers up and into the middle of the dress. This gives it that lovely curved line at the front and the draping down each side that you see. It also creates a touch of volume across each hip which makes your waist look smaller. The bodice is suspended by tiny straps made out of the same silk. The front has a wide set scooped neck and the back is the same. The back of the dress closes with a series of buttons that run from the nape of the neck to the waist with a zipper set under that. It is seriously gorgeous on and gives you curves while feeling very forgiving. Over that pops the simplest little jacket made in a matching printed floral silk. It can actually be worn either way around and I shot it both ways. It closes at the back of the neck and then it's open below that on one side and on the other side it has a slit that runs up the center. You can see how this gives a completely different look and feel to the set depending on which side you choose to wear it. The sleeves narrow in at the wrist with a little zippers for the perfect finish. It's a fabulous addition to the dress and the entire set really showcases just what a genius he was. Excellent condition

Both pieces are fully lined in a black silk chiffon. It closes with a low painted metal zipper at the waist and then has a row of buttons above that. The jacket closes at the neck with hook and eye and each cuff zips to close. The silk is cut on the bias. It appears to have been worn very little if at all.

Dress
Bust: to 18" flat across from side seam to side seam
Waist: to 13" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: 15" from shoulder to waist
Skirt: 44" from waist to longest point of hem

Jacket
Neck: 16" around
Bust: 18" flat across from side seam to side seam and narrowing to 17" at the hem
Length: 17.5" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4204

Reference Photos: (1) F/W 1957 James Galanos Dress in The Met Collection.  /  (2) Model in James Galanos photographed by Irving Penn for Vogue, October 1957.

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 fall 1978 Rive Gauche collection and is a fantasic example of his earlier ready-to-wear. In our hunt for documentation on this piece we also found several runway photos and it seems that it was a highlight of the collection and was shown layered over several looks. It is an absolutely fantastic coat and one of my favourites that I've ever had come into the shop. It is that perfect throw over anything and go but go knowing that you will probably be stopped all day to ask where you got it.

The coat is made from a olive coloured soft ribbed corduroy. I love nod to men's wear that it gives the coat. Yves was very much into non-gender pieces during this time period and this pieces really gives the feel of having stolen a well loved coat from your fathers, boyfriend or brother's closet. The fabric is very soft to the touch and feels so good when on. This fabric choice let him keep the lines and shape of the coat soft and slouchy. It has a very men's trench coat feel to it but softened and with that fantastic fit that Yves excelled at. The front does up with a row of hand carved buttons. The collar above that is neat and simple and looks great worn flipped up. It is easy fitting through the bodice and there is a top stitched leather tie that's true the waist and let you adjust it in or out. Under that the skirt of the coat flares out in a soft and easy shape. Slanted pockets trimmed the same deep brown leather as the waist tie sit on each hip. Two more pockets just like those sit low on the bodice above as well. All four pockets are functional. The sleeves are fantastic. They are cut with a wide and easy feel and then gathered in at the wrist with a buckled strap made of the same dark brown leather on one side and backed with corduroy on the other. Once on it has this slouchy cool feel that is just unbeatable. I love it and it is also a remarkable piece of fashion history. Excellent condition with a small note below

Fully lined in an olive coloured muslin. It closes with the buttons at the front. You can adjust the shape through the waist with the leather tie to wear it completely straight up and down or cinched in for shape. The two bottom buttons at the front are broken. Please see the photo after the label shot. They could of  course be easily replaced. They are original buttons. Minor wear to the edges of some of the leather bits. The loose and easy shape of the coat should allow it to fit a range of sizes. It will feel more oversized on a smaller frame and more fitted on a larger.

Sleeves: approx 25" and 20" around the upper arm
Shoulders: no true seam
Bust-hips : 24" flat across from side seam to side seam and you can bring the waist as needed with the leather tie
Length: 48" from neck to hem. If you really cinch in the waist and blouse over the top it will come up in length accordingly

Modern Sizing Equivalent: SML-LRG

Item# C611

Reference Photos: Fall 1978 Yves Saint Laurent 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.

The fabric used for the lower portion of this dress matches the Fall 2000 couture ruffled Chanel coat that I have in the shop and both pieces are from the same client. That said, I do not believe that they were purchased as a formal set because the numbered tags on each do not fall in sequential order like they normally would if that was the case. However, if you look at the runway photo for that look, you can see the similarities to the piece that was shown underneath the ruffle coat on the runway. There is a similarity in the top portion of the dress to Look 34 and we believe that this was a custom made piece whose fabric was chosen to give the option of wearing with the coat. True Haute Couture pieces by Chanel are an extraordinary find as they are so very rare and hard to come by. It is a beautiful example of the work that Karl was doing for Chanel during this time period and how a couture client could work with Karl to get the look that best suited her and her lifestyle.

This is a beautiful and chic shifts that can easily be styled to work for day or as an evening peace. The skirt is made from a rich black silk and it is immaculately tailored. The cut is very simple. It falls from an easy cut waist and then skims over the hips and narrows in slightly to the hem. Panels of silk are set vertically to create the shape of the skirt and the tailoring is immaculate. I love the slash pockets that are set low on the hip. Attach to the skirt is a sleeveless top that is made from precisely spaced knife pleats all the way around. The fabric has a slightly open woven look and feels like it is a mix of linen and silk. This gives it a slight touch of transparency over the inner lining. The effect is lightness and a touch of volume but without it being too transparent to wear. A softer panel of the silk runs from the top of the waist band and appears to circle back and behind the neck and then comes down and loops in under the bottom of the band at the waist. I just is a little unexpected detail. That soft collar also hides a rather low plunge for a bit of sexiness. The back of the neck is gathered and closes with three hand made fabric covered buttons. The top buttons to close below that but the buttons are all hidden under a pleat so that the line does not appear broken in any way. Is a stunning piece. Excellent condition

The top is hand lined in the same fabric as the exterior and the skirt is hand lined in a black silk. It appears to have been worn very little if at all. Appropriate Haute Couture label and numbered tape present. It is completely made by hand.

Bust: to 18" flat across from side seam to side seam
Waist: to 17" flat across from side seam to side seam
Hips: 19.2" flat across from side seam to side seam
Bodice: 14" from neck to top band at the waist
Skirt: 25" from top band at the waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4202

Reference Photos: Fall Chanel 2000 Couture Runway, Looks 20 & 34.

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 more dramatic version of Yves classic tuxedo suit. For the runway it was presented with a longer skirt and that one was shown for Look 38 of the Fall 2001 Haute Couture collection. My client ordered it with the pencil skirt you see so that she could have more options to wear it. The Fall 2001 collection was one of his final collections and to have a piece from this season is very special. Vogue noted that "Cocktail hour incorporated every possible variation on the tuxedo: There was a button-front dress, a smoking jacket that morphed into a full tulle skirt, and, naturally, an updated version of the masculine tux immortalized by Helmut Newton in the '70s." Yves play on the tuxedo and 'Le Smoking' suit is one of is most famous hallmarks that he first presented in 1966. His play on traditional menswear is lauded by many as 'having empowered women by giving them the option to wear clothes that were normally worn by men with influence and power'. I have included runway photos, video and a photo of the original sketch. The sketch shot includes the fabric swatches above as per his atelier records and you can see it is the same fabric as this one. It is extraordinary set and I love it.

The extra wide collar is what sets this one apart from the many versions he did over the years. It is so bold and yet still elegant and refined in feel. There is nothing quite like the experience of slipping on a tailored to perfection piece of true Haute Couture. It somehow feels different and the feeling is something you can only really experience for yourself. The construction on both pieces is meticulous and it has been sourced from the original couture client. These tuxedo suits were all done a play on a men's tuxedo in mind and then were shaped and tweaked by Yves to be immensely flattering on the female body. It's looks simple but has master level tailoring behind it. The jacket has this sleek cut to it that follows the curves of the body. It is slightly cropped to sit just at the top of the hip. The lower part of the collar is finished in a black matte satin. It's size has been exaggerated to make it the focal point. under that is a single faceted button. Pockets are top set on each side and the shoulders are shaped. The fabric has a fine ribbing to it and it holds the lines perfectly. The skirt is cut into a simple pencil shape. I love that you separate pieces which gives you the versatility of being able to mix and match each piece with other things you already own. It is also a suit that depending on how do you style it, it can easily work for either day or as an evening suit. Yves tuxedo suits changed the way the world approached woman's wear and any example of the Le Smoking version is particularly collectible. This is a wonderful example of his couture tailoring. Itis an important piece of fashion history from one of his final collections. It appears to have been worn very little if at all. Excellent condition

Both pieces are hand lined in a black silk. The jacket closes with a button at the front and the skirt closes with a zipper and hook & eye at the waist. There are two pockets on the jacket. Both pieces are completely made by hand to couture standards. All proper Haute Couture tags present

Jacket
Sleeves: 23"
Shoulders: 15"
Bust: to 19" flat across from side seam to side seam
Waist: to 17" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 23" from neck to hem at the front, 22 at the back

Skirt
Waist: 15" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 23.5" from waist to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3559

Reference Photos/Video: (1-7) Diana Gärtner for Yves Saint Laurent Fall 2001 Haute Couture Runway Collection. Look 38.  /  (8-9) Sketches for the Fall 2001 Yves Saint Laurent Couture Collection as shown in the "Yves Saint Laurent Haute Couture: The Complete Works" Book Set.

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

Loris Azzaro launched his label in 1967 and quickly defined his trademark looks by using ornate fabrics and avant garde ways of defining the body. Some of the most beautiful women in the world wore his clothing including Marisa Berenson, Raquel Welch, Jane Birkin, Sophia Loren, Brigitte Bardot and Tina Turner. It was a label that defined sexiness and had a certain French flare that women world-wide loved. By the seventies and eighties he was experimenting with volume and proportions and new fabrics that at the time were all cutting edge. This is a stunning example of his work from the early 1970s and this one is even more special since it is both a book piece and the dress from the ad campaign that season. Especially luck finding this photo because on my dress form and in person the dress can look pretty straight up and down, but once on the body it transforms into the bombshell dress you see in the reference photo. It's spectacular

This is a killer dress. It is one that will come to life even more once it is on an actual body because as mentioned above, this is a dress that in person it is even better. The first thing you see is that the entire dress is covered in overlapping gold sequins that catch the light from every angle. This alone takes your beathe away when you see the dress in person. The bodice of the dress has this cut out and  sculpted feel to it that is fantastic. There is a wide collar that wraps around your neck and then curves down into the bodice. A low scoop out is open and bare under that and then the bodice is seamed to be fitted and shaped around you. It nips in at the waist and then the skirt under that curves over your hips and the falls to the floor in a sleek column to the floor. At the back it is slit up the center quite high so that you see a flash of leg as you walk away. The entire back is also left bare and open and it is as incredible from the back as it is from the front. The dress is wonderfully made. It is a stunning dress and you will definitely turn heads in it when you walk into the room. This might make an amazing wedding dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. And of course it could also be worn to any fabulous event. Great condition with a note below.

Unlined with narrow silk panels covering the inner seams and hand stitched into place. It closes with a zipper at the back and hook and eye at the neck. It looks like someone extended the back neck at some point and stitched in a small overlap at the front. There are areas on the bodice and near the back edge where some sequins have started to loose their gold colouring. And on looks like those areas are catching the light differently but they could easily be replaced if you if it bothered you please see the photos after the label shot. Hand finished throughout.

Neck: 16" around
Bust: 16-18" flat across from side seam to side seam
Waist: 12-13.5" flat across from side seam to side seam
Hips: 16-18" flat across from side seam to side seam
Length: 60" from lower seam at neck to hem
Back slit: 22.5" from hem up

Modern Sizing Equivalent: SML-MED

Item# DD4199

Reference Photo: Spring 1973 Loris Azzaro Ad in Jour de France Magazine, as seen in the book "Azzaro: Fifty Sparkling Years".

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 interesting dress because a version of it was shown on the runway for Fall 1972 but this one seems to be even more elaborate than the runway one. And it is usually the opposite of that in many cases. I like to think that the woman that bought this saw the one on the runway and then worked with George to make this one even more dramatic and spectacular. George Stavropoulos was known for his evening wear. He launched his label in 1960 and soon was dressing women like Elizabeth Taylor, Jackie Kennedy, Barbra Streisand and Maria Callas. His dresses were made by hand and to couture standards. By the early 1980s a gown by him started at around $8500 and they went up in cost from there and that starting price point equals to around $26,000US in today's dollars. A vintage Stavropoulos dress is an incredible thing to own and this is one of the best ones I have ever seen.

This dress is drop dead gorgeous and I think it's even better in person. The dress is made out of a ivory coloured silk organza that is heavily embroidered with a leaf pattern. Those silk 'leafs' have been embroidered over the entire dress to highlight the cut. Part of the design are actually individual embroidered leafs that have been appliqued and embroidered into place. It is stunning to see in person. The silk is feather light and I love the airy feeling that this creates. This light feeling is highlighted even more all of those little embroidered pieces. On the skirt they are set so they are scattered lightly over the upper skirt and become denser as they reach the hem. Along the hem are these curving inset panels. They are attached to the dress but the design is finished to follow the jagged edge of the embroidered leafs. I love this double layer of texture this gives around the actual hem and then above it on parts of the dress. The skirt is very full. I have photoed it with nothing underneath but there is enough room that you could add a crinoline underneath  and get a very full look if you wanted. The lightness and fullness mean that when you move the dress will move with you and the effect is gorgeous. The neckline is beautiful. It is squared off on both sides and the applique work is set to go inwards around the neck and slightly up the sides of your neck. It also frames the opening at the front and the back. The bodice is layered over an inner dress that the skirt is attached to. This gives it the look and feel of two pieces but it is actually one dress. It also exaggerates that gradual widening that you see happening from the bust all the way down to the hem. At the same time it also allowed him to do another spectacular edging where that jagged edge is picked up and tied into how it's done at the hem. The last perfect touch are those magnificent sleeves. Each one falls from a rounded soft shoulder and is cut with tremendous volume. They have a huge and elaborate pouf to them. Each of them ends in an elaborate cuff with the same detailing applique that the other edges have. They are the perfect finish to this high fantasy gown. The workmanship is incredible and it is absolutely beautiful. This is a fabric that is notoriously difficult to work with and it shows just what a genius he was by the way that he was able to make it sit so beautifully. The majority of work is all done by hand and it would have taken many hours of work to create this dress in this way. This is a dress that must be on a body to really come to life. As good as it looks here it is nothing compared to it on and moving. This would make an extraordinary wedding gown for the bride looking for something unique. Excellent condition.

Fully lined in an ivory silk that has a stiffened inner hem to help hold the volume. It closes with a zipper on the inner dress and then the outer dress snaps into place over that with hidden set silk covered snaps. The inner seams are finished by hand to couture standards. The colour in person is softer and even prettier then how it photoed. The camera gives it more shadow than it has in person on the embroidered parts. It is a touch creamier in real life. This is cut generously underneath the top added bodice but the skimming design will work on a smaller frame as well and could easily be altered if needed

Sleeves: approx 21"
Shoulders: no defined seam
Inner bust: to 18" flat across from side seam to side seam
Inner waist: to 17" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Bodice: 16" from top of shoulder to inner waist
Skirt: 44" from inner waist to longest points of hem

Modern Sizing Equivalent: SML-LRG

Item# DD4200

Reference Photo: Fall 1972 Stavropoulos 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.

This might be one of the cutest dresses that Yves ever did and the print is of course an homage to his own French Bulldogs that he loved so much. Its twin walked the runway and was styled with a wide leather belt to really play on the proportions and cinch in the waist. It is one of my all time favourites and I am very pleased to have this wonderful dress in the shop for you.

This is gorgeous little dress. On the hanger it looks like nothing tell me a pill is that fantastic print. But it's just hits the body his genius with cut comes to life. The top is meant to be full and easy over you. The upper bodice is yoked on the front and the back and it has light padding in the shoulders for structure. A row of glossy white buttons closes the partial opening at the back of the neck. The waist is seamed and it is meant to blouse over top of it. If you decide to add a belt like they did on the runway it will really emphasize the waist and the volume above even more. This skirt is cut to be slightly fuller around the hips and then narrows down slightly as it reaches the hem. I love the slash pocket sit on each hip. The sleeve incredible. They come out from the top of the shoulder where they're slightly gathered and they are cut to come out from just above the waist and narrow down to an elastic cuff. This makes them incredibly full and when you push the up to just past the elbow they are even fuller as you can see in the reference photos. It's just a beautiful little dress and perfectly represents this time period. Excellent condition with a small note below.

Unlined and closes with a side set zipper. Three buttons at the back of the neck to close the small opening there. Elastic in each cuff. There is the tiniest bit of yellowing to one of the bulldog prints at the neckline and I see a repair at the top of the side zipper. It is completely hidden once in by the volume of the sleeves. Please see the photos after the label shot. Tagged a vintage YSL 40. It's oversized cut should work on smaller frames too

Sleeves: 17" and will pouf up more when on
Extended shoulders: 18"
Bust: open with no true side seams
Waist: 13.5" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: 18" from top of bodice to waist and will pouf up when on
Skirt: 24.5" from waist to hem

Modern Sizing Equivalent: XS-MED

Item# DD4197

Reference Photos: Spring 1987 Yves Saint Laurent 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.

This is one of my favorite pieces from the Spring 2015 Saint Laurent runway. At this point Hedi Slimane was the creative director since joining in 2012. He would depart in 2016 but at this point his future still seemed firm. The collection was short and sexy. Vogue's review of the show ended by saying "this collection straddled Slimane's worlds: L.A. groupies in Paris couture. You know he gets off on that idea. He's not the only one. The energy was contagious tonight. "I was having an orgasm," we overheard a model-slash-writer pronounce on her way out the door." The runway version was deeper cut at the front but that did not stop this version being seen everywhere after. We found multiple photos of being worn by the 'It' girls of the time and it still feels as fresh and sexy now as it did then. I love it.

This dress is so easy to wear and so flattering. It just slips on, zips at the back and drapes and falls into place. The front falls into a fairly deep V and then the fabric is gathered in towards the center at the base of that V. This gives you shape without being tight and fitted. Just Kim over you in the most flattering of ways and you can see by all of the added reference photos how gorgeous it is once on. From the waist that flares out into the swingy sexy flirty little skirt. The skirt is cut to be short and the fabric is so light that it feels a little scandalous when it's on the body but it does cover you. The sleeves have that classic slight balloon feel to them and pouf out of above their buttoned cuffs. The red is the perfect red that will flatter most skin tones and those white dots that cover the silk just make the dress feel joyful. It's that perfect mix between girl next door innocence and sexiness. It's one of my favourite dresses from the time that Hedi was the Creative Director. It looks to have been worn very little if at all. Excellent condition

Fully lined in a red silk and closes at thew back with a hidden set zipper. Each cuff buttons to close with silk covered buttons. Tagged a 42. Appears to have never been worn or worn very little

Sleeves: 23.5"
Shoulders: 15"
Bust: to 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: 34" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4196

Reference Photos: (1) Spring 2015 Saint Laurent Runway, Look 28. Model: Kiki Willems.  /  (2) Anna Ewers, in Saint Laurent, by Norman Jean Roy for Harpers Bazaar, May 2015.  /  (3) Natalie Joos, in Saint Laurent, & Giovanna Battaglia at the Laure Heriard Dubreuil Pop Up Shop at the Ritz Paris, July 2016.  /  (4) Christina Aguilera in Saint Laurent, May 2015.  /  (5) Marie-Pier Morin in Saint Laurent for Loulou Magazine.

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 interesting dress because it's from the Miss O label that Oscar de la Renta started during this time period for his younger audience. What makes it interesting is that a very near version of it walk the runway for the Fall 1988 show. You can see how he slightly changed the design to give it a bit of a younger feel and make it easier to wear. I've included that runway photo here for you said that you can see how fantastic it is on the body. It is a gorgeous little dress

The dress is made out of a soft black jersey fabric that has an almost T-shirt feel to it when you touch it. The fabric is gathered over the dress from the top of the bodice to the hem and all the way around the back. Vertical stitches give it a pattern within the pattern and extra interest. It is to cut to hug the body and the neckline is cut flat across the front. Wide black velvet straps curved over each shoulder and attach to the back. From the front it's a fantastically fitted dress that shows off all your curves and has the interest from the gathering. At the back is where it gets spectacular. A black panel runs over the zipper and onto that panel are seven floral buttons that have rhinestones set inside and into the buttons. This creates a beautiful bit of flash and glitz at the back. Under that there's an inset of black lace lined in a nude chiffon for a sexy little kick as you walk away. It's very chic and sexy. Excellent condition

Bust: to 17" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: to 17" flat across from side seam to side seam
Length: 36" from top of shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD4194

Reference Photo: Fall 1988 Oscar de la Renta 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.

This is a stunning example of Halston's later work. It is from 1983 and of this point Halston had just signed the international licensing agreements that would be the beginning of his downfall. That makes this a piece from one of his final self designed collections before being forced out of his own company. His prices for the main line were sky high at this point and the work put into the pieces was impeccable. When hunting for documentation for this one we found one photo of an unknown woman wearing it to a Nato party that year. There is the possibility that it is from a slightly earlier collection and the woman is re-wearing from her own closet. Either way it gives you a better idea of how spectacular it is on the body. 

The fabric for all of Halston's beaded and sequin pieces were being made in India during this time period. Halston personally chose the fabrics and materials that were used for each piece of his main line collections. These beaded pieces were especially intricate and the majority of the garments produced were heavily beaded and/or sequinned. This set is gorgeous. Both pieces use a black silk chiffon as their base and then onto that is an intricate design made of a combination of tiny tube beads, faux pearls, tiny silver sequins and rhinestones. These have all been hand applied and individually applied over the two pieces. The bead work is laid out so that it becomes heavier around the edges of both pieces. Both piece also have this fantastic fringe made out of little pear-shaped faux pearls spaced side by side that follow every edge. It's incredible to see and like jewelry on the pieces. Clusters of all the other elements are tightly spaced around the edges of the jacket, the end of the sleeves and then around the hem of the skirt. They scatter out in a wider dispersed pattern from there to completely cover both pieces. The skirt has a simple cut with an easy-to-wear elastic waist and then it widens out slightly to the hem. The jacket has no collar and curves down and around to the hem. There are no closures and it's meant to be worn open and over something else. The shoulders are soft and it is looser fitting through the body. The sleeves are incredible. They have those insane fringed cuffs and each sleeve is cut to balloon out above the wrist. You can see that in the photos I have here and even more so in the reference photo attached. I love the versatility of having the two pieces because you can mix and match them with other pieces, but together they are truly spectacular. The silk chiffon keeps them extremely light in weight and even though they are backed in another layer of black silk chiffon there's still a bit of a play on transparency that the set has. It's spectacular. Excellent condition with a note below

Both pieces are fully lined in a black silk chiffon. The jacket has no closures and the skirt has elastic at the waist. All the applique work is done by hand. Perhaps the occasional loose or missing bead or applique. Tagged a vintage Halston 6. The elastic in the waist feel stretched a bit and would be an easy fix if you needed the waist smaller. Its current range of measurements are listed below but it could go down by a few inches if needed.

Jacket
Sleeves: 24" approx.
Slightly dropped shoulders: 16"
Bust- bottom seam: approx 18-19"
Length: 22.5" from neck to hem

Skirt
Waist: 13-19" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 28" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4193

Reference Photo: Guests at a Halston Party for NATO Committee, October 24 1983.

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 silk chiffon and cut metallic velvet fabric was integral to the Fall 1977 presentation by Oscar de la Renta. The twin of this set walked the runway along with two other versions in this same beautiful fabric. I love that we found these photos because it give you an idea of how beautiful the dress is on the body. The fabric is absolutely stunning and the lines of this drape fantastically. It's also rare to find documentation of pieces this early which makes the set that much better.

This set from Oscar de la Renta has such a rich, luxe feel to it while still having a bit of a bohemian vibe. The colour is this absolutely stunning deep purple burgundy that is beautiful to see in person. This is a set made up of two separate pieces. Having these separate pieces makes it very versatile since you can mix and match them with other pieces in your existing wardrobe. The fabric is stunning. The base is an ultra fine silk chiffon that has a touch of transparency to it. Onto that is a silk velvet that is cut out into a floral and leaf pattern and then infused directly onto the silk. A metallic thread in the same exact colourway was then used to outline and highlight the pattern that runs over the pieces. This touch of metallic detailing lets the pieces catch the light from every angle and adds a bit of a glitz and glam to the set. Both pieces are lined with another layer of the same colour silk chiffon but there's still a stunning play on transparency with the outer fabric. The silk is light in weight and floats beautifully over the body once on. The skirt has a band at the waist for shape and then the silk falls to the floor from there to widen out slightly as it near the hem. The top goes over that and just slips on to wear. The neckline is simple with no collar and has an attached silk braided cord. This allows you to adjust the neckline so that you can wear it loose with a more open V underneath or tie it tight and just have a slit keyhole underneath. Each corded tie ends with a pretty fringed tassel. The body of the top is loose and full. Each sleeve is also full and billows out above an elastic cuff. Each sleeve is finished with another cord and fringed tassel detail. The banded waist already gives shape at the waist when you tuck the top in. You could emphasize that shape even more by adding a belt. It a even more gorgeous in person. And it has pockets on the skirt. It appears to have been worn very little if at all. Excellent condition

Both pieces are lined in a matching silk chiffon including the sleeves. The skirt closes with a side set zipper and a flat hook & eye at the waist. The top slips on to wear with an attached cord at the neckline. The cuffs have elastic at their ends and the cord there is decorative. It appears to have been worn very little if at all. 

Top
Sleeve: approx 24"
Shoulders: 15"
Bust-bottom seam: to 19" flat across from side seam to side seam
Length: 21.5" from shoulder to hem

Skirt
Waist: to 13" flat across from side seam to side seam
Hips:to 22" flat across from side seam to side seam
Length: 42" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4192

Reference Photos: Fall 1977 Oscar de la Renta 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.

This wonderful cape is from the Fall 1977 collection and several versions of it were shown on the runway that season. We found its runway twin in the same black as this and shots of a similar pom pom corded red and a blue version as well. The cape was also used for the ad campaign that year making it an integral piece of the Fall 1977 collection. I personally a twin of this exact black version myself and have worn at countless times. It's literally the perfect thing to pop over a dress at night time and so easy to wear.

The cape is in a very versatile black colour and the fabric is extremely soft and cozy. It feels like the fabric is a mix of a soft wool and mohair. It is so easy to wear. You just slip it over your shoulders and it drapes in place. A wide set ruffle extends out from the neck and drapes over your shoulders for added detail and drama. A black braided rope circles through the loop around the neck and you use this to control how loose or tight it sits. At the end of each braided rope is a fringed tassel that give a bit of movement when you move. There is a ton of fabric in the body of the cape so that when you move you get wonderful movement as it floats and billows around you. The cut is impeccable and it is a great piece of documented fashion history. Excellent condition

Unlined and drapes over the shoulder to wear with a tie at the neck as described. The easy open cut should allow fit just about any size

Length: 54" from shoulder to hem

Modern Sizing Equivalent: OSFA

Item# C603

Reference Photos: Fall 1977 Yves Saint Laurent Runway & Ad.

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

The twin of this dress walked the runway for the Fall 1982 show and I love that we found photos of it for you so you can see just how spectacular it is one and how the sleeves sit once on a body. This silhouette with its dramatic sleeves and full skirts was an important element for that season. It is just a stunning example of one of his most recognized looks.

The dress is made from a combination of two of his favorite fabrics, silk taffeta and silk velvet. These became signatures of his and ran through his collections from the start of his career to the finish. It is a stunning piece. The top is cut to skim over the bust with a scooped neckline at the front. It is seamed at the waist and then extends down over the top of the hips. There is an attached silk taffeta sash that wraps around the waist and cinches you in for added shape and detail at the waist. The sleeves are full with a beautiful sweeping cut that starts at the shoulders and remains full to just past the elbow. At that point the fabric changes to to a velvet. Four glossy dome buttons  detail the lower part of the sleeve. These are meant to be pushed up slightly to exaggerate that pouf of the upper sleeve even more. The skirt falls from under the velvet and it is beautifully full. The photos do not really do the amount of fabric in the skirt full justice. I love that under the top purple layer of silk there is a lining finished in a coral red silk taffeta. You don't see that inner layer when you are standing, but when you sit or move just right, you get that extra flash of color. It's a small detail that I am obsessed with. The fabric choices helps keep the intended shape and volume. Pieces by Yves from this time period have become an important piece of fashion history and having documentation like this one has makes it that much better. Excellent condition.

Fully lined through the bodice in a black silk satin. The skirt is lined in a deep red silk taffeta and the sleeves are unlined. It closes at the side with a metal and nylon zipper and each cuff buttons to close. The sash is attached at the back. Slight flattening to the velvet here and there along the waist seam that is covered by the belt once on. Tagged a vintage YSL 40.

Sleeves: 29"
Shoulders: 15"
Bust: 17.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 17" from shoulder to waist
Skirt: 43.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD2856

Reference Photos: (1-2) Fall 1982 Yves Saint Laurent Runway.  /  (3) Alice Englert wearing this dress for Harper's Bazaar, 2023.

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 fall 1970 Rive Gauche collection and is very early example of his ready-to-wear. It also has a bit of infamy because it's twin was a photoed on Catherine Deneuve for Vogue that season. That photo of her has become one of her most iconic. It is also found in many books on his work and on her and I have included one here. In our hunt for documentation on this piece we also found two other editorial photos where it was used showing its importance as a piece of that season. This silhouette went on to be one that he repeated in many future collections. I love it's nod to bygone eras but at the same time it still feels thoroughly from the seventies. Pieces very first collection of a decade are always extra interesting to me. They're either one that you never see again or they become an integral direction for that decade.

The coat been worn and loved but it's still in fantastic condition. It's made from a velvet that has ribbing so it almost feels like an ultra ultra fine corduroy. The pile is flat but very soft. This fabric choice let him keep the lines and shape of the coat. It has a very great coat feel to it but with Victorian inspired mutton sleeves and that fantastic fit that Yves excelled at. The front does up with a double row of hand carved buttons. The collar above that is exaggerated. Collars would get bigger later in this decade but at the time even this would have been startling and edgy. It is fitted through the bodice and seamed at the waist. Under that the skirt of the coat flares out dramatically. Pockets are hidden along each hip as you can see in the photo of Catherine. The sleeves are incredible. They are set and gathered high into the top of the shoulder for a slight capped feel. They pouf out dramatically under that to about the elbow and then are slim cut to the wrist from there. It is currently gorgeous and I love it. It is also a remarkable piece of fashion history. Excellent overall condition with a note below

Fully lined in a copper coloured silk. It closes with the buttons at the front. Tagged a 36. There is some wear to the velvet under the buttons and on the slimmer part of the sleeve where someone would've pushed the sleeves up. It's very minor. There's a small spot on the front of the coat and I photoed that for you. Some tiny areas on the back where the fabric has worn through along the hem. I photoed one but they do go across most of the back bottom of the coat. They make no impact when it's on. I see a tiny area of the start of thinning to the fabric on one sleeve. This is still infinitely wearable and such an important piece of fashion history the small flaws don't really deter

Sleeves: 24"
Slightly inset shoulders: 13.5"
Bust: 16" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of bodice to waist
Skirt: 37" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# C609

Reference Photos: (1) Model in Yves Saint Laurent, January 1970.  /  (2) Catherine Deneuve in Yves Saint Laurent, October 1970.  /  (3) Model in Yves Saint Laurent, 1970.  /  (4) From the book "Saint Laurent Rive Gauche: Fashion Revolution".

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 1968 Ossie Clark was designing his own couture line and also designing pieces for Alice Pollock for her Quorum Boutique. The Radley company approached Alice to find out of she could convince Ossie to design a top of the market collection that they would produce and sell to various boutiques and department stores. Dresses like this were the result of that collaboration. Even with this early version of 'ready to wear' the pieces that were made were still never produced in vast quantities and certainly nowhere near whet we think of today as RTW as far as quantities.  I have had black versions of this dress in the shop before and always love finding one of these. It is a classic Ossie design and one of Ossie's most famous and recognizable creations. A similar version in ivory is held in the Victorian and Albert Museum. Lily Sullivan also wore a version and you can see how it is transforms once on the body. Both of those fully button tot eh neck bit this one has a more V front and then has the buttons underneath that. I have included those shots here to give you an idea of just how fabulous the dress looks like on.

The design of this dress seems so simple when you see it on a hanger and yet it has that perfect flow and drape that he was known for. His signature sexuality that he worked into his pieces is displayed in that low front plunge that can be made even lower if you choose to wear it more unbuttoned. I love his pieces that button down the front. You feel covered, but he still somehow manages to make them feel extremely sexual. The buttons have been covered in the same red moss crepe as the dress is made from. They run from the bottom of the V neck, past the waist and down the top part of the skirt. The dress has it original matching fabric tie that wraps around and ties to give you some added shape and definition through the waist. The skirt flows from under there to cascade to the ground. It skims over the hips and then widens out quite a bit by the time it nears the hem. There is a wonderful amount of volume that flows around you when you move. I love that the back is cut slightly longer then the front. This is balanced out by full bishop cut sleeves that puff up above each moss crepe covered buttoned cuff. I own one of these myself and it will always be in my collection and I can tell you from personal experience that it is a dress that you will wear over and over. I absolutely love his red moss crate pieces. The colour is so good and it just makes a fantastic impact. This one is in wonderful condition to which isn't always the case with the red pieces. It easily goes from day to night and is sensational on the body. It is in its original uncut supermodel length which is hard to find with many Ossie pieces you now see out there for sale. Excellent condition with one small note below.

Unlined and slips over the head to wear with it original tie belt for around the waist. It buttons down the front. Each cuff has a fabric covered button at the wrist. There are two very light marks near the front center seam about 16" down from the final button. They are very light and where the skirt starts to get volume so not really seen when on but are visible when it is laid out flat. Please see the photo after the label shot. The red is a bit brighter then how it photoed. It is better in person. Tagged a vintage Ossie Clark UK 10

Sleeves: 28" but come up when cuffs are buttoned
Shoulders: 14.5"
Bust: to 18.5" flat across from side seam to side seam
Waist: 12-13" flat across from side seam to side seam and can be defined more by the tie belt
Hips: 16-18" flat across from side seam to side seam
Length: 61" from neck to front hem and 66" to the longest point of the back hem

Modern Sizing Equivalent: SML-LRG

Item# DD3692

Reference Photos: (1) 1969-1974 Ossie Clark Dress in the V&A Collection.  /  (2-4) Lily Sullivan at the Inaugural Museum of Applied Arts and Sciences (MAAS) Ball in Sydney, February 2018.

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

Mary McFadden patented her Fortuny inspired pleating technique just a couple of years after launching her label in 1973. By the eighties she had many licensing agreements and her dresses were being made on a larger scale. She called her pleated fabric 'marii' after her own name. She went around the world to source the fabric she wanted and her pieces need up being made out of a synthetic charmeuse that she sourced from Australia. The fabric was then sent to Japan to be hand-dyed and the pleating technique was done by a machine press in the United States. Mary was known to say frequently that there was no greater beauty than pleated cloth on the human body and she said then when she developed her 'marii' fabric her aim was to have it 'fall like liquid gold on the body, like Chinese silk.' This is from her higher end couture line that had a more limited production and sold at higher end shops. We also found a runway photo of it so that you can see just how specatular it is on.

This dress is made from McFadden's fabric in her signature pleating technique and is the twin of the dress that walked the runway that season. Like many of her best pieces the pleating gives it the comfort of a bias cut and it is very sexy while still feeling refined. The colour is a brilliant true red that is flattering on most skin tones. The lightness of the fabric lets the dress fall over you beautifully and skims over your body underneath to be very flattering. The neckline is scooped and set slightly wider across the shoulders. The sleeves are long and the pleating allows then to adjust to fit your arm. The bodice is cut to skim over you from the shoulder to the hip with one of her signature curving panel wrapping over the front and the back back waist to shoulder. It is made to give the illusion that the dress is wrapped around you. The skirt underneath falls to the floor in a column of pleat work. A longer skirt like this is not always seen in her later work. She preferred to design pieces that ended well above the ankle so you could see the shoe underneath so the longer pieces are a bit rarer and harder to find. The detailing on the one side of the waist is spectacular. There is a fanned ruffle of pleat work edged in gold that runs down either side of the hidden set side zipper there. Then on the front hip are two rolled flower like additions that are also made of the red pleats and edged with gold. These sit at the base of the front curved panel and add a stunning detail. No matter how good it is in the photos it is better in person and it is wonderful once on the body. It is beautiful example of her work. Excellent condition

Unlined and closes with a hidden set side zipper. Hand finishes. The easy cut and give of the fabric should allow it to fit a range of sizes. It looks to have been worn very little if at all. Padding in each shoulder. Tagged a vintage 10

Sleeves: 24.5" and the upper arm will expand to 22" around if needed and fit any size smaller then that
Shoulders: 14.5"
Bust: 17-19" flat across from side seam to side seam
Waist: 15-16" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Length: 60" from top of shoulder to hem

Modern Sizing Equivalent: MED-LRG

Item# DD4186

Reference Photo: Fall 1988 Mary McFadden 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 1981 Halston was still in full control of his brand. He had not yet signed the international licensing agreements that would be the beginning of his downfall in 1983. At this point in the Halston history, he was at the top of his game and anyone who was anybody was wearing the Halston label. His prices were sky high and the work put into the pieces was impeccable. This is a fabulous example of his work and it has the added distinction of being a well documented one. On the runway it was styled with a wrapped leather belt and these were sold separately as part of the collections that Elsa Peretti was doing for the label. It is an amazing set and even better once on the body as you can see from the runway shots we included here.

Halston's beaded and sequin pieces were being made in India during this time period. Halston personally chose the fabrics and materials that were used for each piece of his collection and then sent them to India where they were beaded and sequinned to his specific instructions and assembled. The 1981 collection was especially intricate and the majority of the runway garments were heavily beaded and/or sequinned. This set is absolutely gorgeous and all of the bead and sequin work on it is completely done by hand. Silver tube beads in two sizes are laid out in an intricate swirling pattern that covers all three pieces. Each bead has been hand applied onto an ivory silk chiffon that has a bit of transparency. To make it wear able the halter and pants are lined in a nude silk chiffon. I love the boldness of the silver and how all three pieces glitter and sparkle in the light from every angle. Each piece is kept simple in design to work in harmony with each other. The pants have an elastic waist and are cut to skim over the hips. Each leg falls in a straight peg silhouette from there. The halter has a high scooped neck and ends just above the waist. It curves back and around the neck to close and does the same at the waist. This leave the back completely bare. At the front the bust skims over you. The bottom of the halter is finished with a silk panel that has little loops set all the way around it. These correspond to hooks that run around the waist of the pants. You can choose to wear the pants low for your midriff to show, and either let that band on the halter show or flip it under, or you can hook the pants to the top to hold it in place and then wrap a belt around it similar to how it was styled on the runway. It is just incredible. Then you would slip on the jacket over that if you wished. The jacket is cut loose and easy with a closure at the top the neck only so you can see the pieces underneath. The set is very flattering on the body and easy to wear. It is pure glamour. I love the versatility of having all three pieces because you can endlessly mix and match them all with other pieces from your wardrobe. Even just wearing a set with or without the jacket dramatically changes the feel of it. This is a classic example of Halston's work. This would make an amazing wedding piece for the bride looking for a non-traditional choice or as an alternative outfit in a more extended wedding celebration. And of course it could also be worn to any event.Excellent condition

The jacket is unlined and has a hook and eye at the top of the neck. The heart hooks to close at the neck and at the back. You can also hook the pants and halter together as described above. Elastic through the waist of the pants. The bead work is completely hand done. Perhaps the occasional area of loose beads and threads here. The elastic in the waist feel stretched a bit and would be an easy fix if you needed the waist smaller. Its current range of measurements are listed below but it could go down by a few inches if needed. Slightly creamy in colour in person

Halter
Neck: 14" around
Bust: no true side seams but covers up to 14" flat across the front
Seam at bottom: to 13" flat across from side seam to side seam and the hook could be moved to get another inch if needed or made smaller as needed
Length: 15" from neck to bottom seam

Jacket
Sleeves: 22"
Shoulders: 15"
Bust- bottom: 19" flat across from side seam to side seam
Length: 30" from neck to hem

Pants
Waist: 13-18" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 40.5" from waist to hem with 3.5" turned under the hem
Inseam: 29" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4189

Reference Photos: Spring 1981 Halston Runway. Model: Connie Cook. (3rd photo: Crystal beaded cardigan jacket and jumpsuit from the Summer 1981 collection. From the book "Halston: An American Original")

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

As with so many of Pheobe's pieces for Celine, this dress was very well documented and photoed when it came out for the Pre-fall 2018 collection. It is instantly recognizable as being Phoebe's work and is one of her more iconic looks. When I started to hunt for references for it I found all the ones that are here, plus there are probably more out there. It was a definite favorite among the fashion set and was a regular look in do many street style shots of the day. All of Phoebe Philo's pieces for Celine have reached cult status and the prices are just continuing to rise. Her work is a must have for the vintage collector and this is a particularly hard to find dress that is rare and collectible.

This is one of the easiest dresses to wear that has ever existed. You just slip it over the head and then adjust the shape around the waist with the tie belt and walk out the door. That tie belt allows you to wear it low and loose or you can cinch it in and wear it higher up on the waist and have the top blouse over. The jersey is fantastic quality and is covered in that iconic python / boa snakeskin print. The neckline is high with a collar that is notched at the back so that it sits out from the neck a bit. It is yoked across the front shoulders and then it falls loose and easy over the body. The body of the dress has yards and yards of fabric in it. The sleeves are equally as voluminous and they come out from the waist area and narrow down to buttoned cuffed wrists. Tons of subtle details like a strap that extend from the shoulder of each sleeve, and french finished outer seams that add weight and keep the lines of the dress in place even with all that volume. And it has pockets. This is the genius of Phoebe where she manages to have something be so perfectly simple and easy and yet have so much drama at the same time. I love it. It appears to have never been worn or worn very little. Excellent condition 

Unlined and slips on to wear with a short hidden set zipper at the back of the neck. Original tie belt included. Tagged a 42 but very generous in cut. It appears to have been worn very little if at all. It should fit a wide range of sizes as long as the neck works.

Sleeves: approx 31" and meant to scrunch up on the arm once on
Shoulders: no true defined seam
Bust - hips: to 40" flat across from side seam to side seam
Length: 52" from neck to hem
Neck: 19" around

Modern Sizing Equivalent: OSFA

Item# DD4180

Reference Photos: (1) Pre-Fall 2018 Celine Collection, Look 45. / (2-6) credits 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 is the twin of the piece that walked the runway for the Fall 2000. I have, and have had, several Couture pieces from this collection now from the same client and she often ordered her pieces in a different colours from the runway but for this one she did stay true to the runway vision. The jacket is incredibly beautiful and so perfectly and sharply tailored. True Haute Couture pieces by Chanel are an extraordinary find as they are so very rare and hard to come by. It is an incredibly beautiful and historically important example of the work that Karl was doing for Chanel during this time period. It is absolutely gorgeous to see in person.

This car length evening jacket / coat is absolutely stunning. I am just in love with it. The length makes it so versatile and you can mix and match with almost anything in your wardrobe from jeans to evening pieces. It is made from a combination of a very high end black silk with that fabulous silk tulle ruffle at the front. The tailoring on this piece is immaculate. It slips on and has a hook at the top of the neck. There are shoulder pads for structure. The sleeves are long and I love how the shoulders are set into the body of the jacket so that they peak just slightly above the shoulder line. This is a very Karl signature that only got stronger as time went on. It has meticulous seaming set in curving lines to create the shape that you see. I took some closer shots of the seaming around the sides and arms of the jacket so that you can see how incredible it is. There is a hook and eye at the neck to close. I love the ruffle set at the front. It cascades down the front from the neck right to the hem. It is made of multiple layers of silk tulle so that it has volume. It is very full at the ruff of the neck and then gradually narrows down as it reaches towards the bottom hem. This adds unexpected detail and romance to the jacket. It is hand lined in a black silk and it is heaven to wear. This is a classic and exceptional piece of Chanel. The fact that it is true Haute Couture is just the icing on the cake. It is meticulously made to the highest standards. It is a beautiful piece showcasing the work that the Chanel ateliers are capable of and of Karl's time there. Excellent condition.

Fully hand lined in a fine black silk and has a hook and eye at the top of the neck. It appears to have been worn very little if at all. Appropriate Haute Couture label and numbered tape present. It is completely made by hand

Shoulders: 14"
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: 38 3/4" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4179

Reference Photo: Fall 2000 Chanel Haute Couture Runway, Look 34.

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 set in a different colour walked the runway for the Fall 2000 show for Look 11. My client ordered hers in black and that simple colour change makes it incredibly timeless. The suit is beautiful and so chic. I also have Look 17 from the show in the shop that has a longer jacket from the same client. True Haute Couture pieces by Chanel are an extraordinary find as they are so very rare and hard to come by. It is an incredibly beautiful and historically important example of the work that Karl was doing for Chanel during this time period. It is absolutely gorgeous to see in person.

I love that this is a suit with a dress and jacket rather than a jacket and skirt. It makes it so versatile and you can mix and match both pieces and wear them in so many different ways. Both of the pieces are constructed from a find black wool that has a touch of texture. It is absolutely beautiful. The inner dress is cut in the sleek and simple shift that skims over the body and flares out slightly as it nears the ham. Clever and subtle seams shape the dress around you so that it's very flattering. I love the seaming detail at the neck to give it the feel that the fabric crosses over itself. It is hand lined in a rich black silk so feels like heaven on. The jacket slips over that and has slight shoulder pads for a touch of structure and the sleeves are long. It has meticulous seaming set in curving lines to create the shape that you see. There is a simple hook and eye closure at the neck and two functional pockets on each side. It is hand lined in that same high end black silk and there is a signature Chanel chain set around the hem. What really makes it exceptional is that ruffled piece that goes from the neck right to the hem. The ruffle gradually narrows down as it reaches the bottom hem and this adds an unexpected touch of detail and softness to the jacket. It also creates movement as it slightly moves as you move. On the dress this same fringe detail circles around the hem. When the two pieces are worn together this extra little detail softens the feel of the set and gives it a nice pretty and romantic touch. This is a stunning and timeless example of Chanel's Haute Couture work. It is meticulously made and it is a beautiful piece showcasing the work that the Chanel ateliers are capable of and of Karl's time there. Excellent condition.

Both the dress and the jacket are hand lined in a fine black silk. The dress closes with a back hidden set zipper that follows along an offset seam so that it looks to have no closure at all. The jacket has a hook and eye at the top of the neck. It appears to have been worn very little if at all. Both pieces have an appropriate Haute Couture label and numbered tape present. Both pieces are completely made by hand

Jacket
Sleeve: 23.5"
Slightly inset shoulders: 15"
Bust: 19" flat across from side seam to side seam
Waist: 20" flat across from side seam to side seam
Hips: 22" flat across from side seam to side seam
Length: 24" from neck to hem

Dress
Bust: to 19" flat across from side seam to side seam
Waist: 18" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 38" from shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4177

Reference Photo: Fall 2000 Chanel Haute Couture Runway Collection. Look 11

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 I love. This dress is from the Spring 2018 collection entitled 'Bellissima'. Co-founder Giorgia Tordini  said that it was loosely inspired by Luchino Visconti’s filmic feminine vision and that the collection was supposed to be 'romantic and dramatic.' As with most of their collections, especially the early ones, it is very vintage inspired and you can see the 1940s inspiration with this dress. This may have been the prettiest one of the collection and it is the twin of the runway presentation dress. It is also new with tags.

This dress is just phenomenally pretty. It is made out of a light semi-sheer silk chiffon that has a touch of texture to it. All of the seam edges are raw. This leaves a deliberate fraying that runs along all of the seams that act as detailing on the upper part of the dress. It dips into a deep V at the front and the sleeves are capped and poufed. The dress is cut to skim over you and has curved seams and ruched gatherings reminiscent of the way that pieces where made in the 1930s and 1940s. Under that the skirt flares out and there's quite a bit of fabric in it that will billow out around you when you move. A panel runs down the center of the skirt and it is purposefully set so it's a little bit longer and has a very vintage feel to it. The dress closes down the side with a series of hidden set buttons. Another nod to the 1930s and 40s in feel. What is definitely not something from an earlier time period is the color. It has been dyed in a dramatic tropical sunset feel. It begins with a yellow at the top and then softens to coral tones in the middle and then slowly changes to pinks. The very bottom of the skirt is a bright in vivid pink and it is stunningly gorgeous. It is meant to be semi transparent and you can either go with something nude underneath to be full on daring or add a slip in almost any colour to give it different looks. The dress has all its original tags attached and was never worn. Excellent condition

Unlined and closes with hidden set buttons at the side. Tagged a modern 40. New will tags and never worn. The easy cut should allow it to fit a range of sizes.

Slightly inset shoulders: 13"
Bust: to 19" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: to 25" flat across from side seam to side seam
Length: 60" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# DD4176

Reference Photo: Spring 2018 Attico Collection, Look 5.

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 would have been designed while Youssef Rizkallah headed the company. Youseef joined the Malcolm Starr label in 1969 and remained as the head designer until 1975. The years that Youssef headed the line are among some of my favorites and in particular his pieces that utilize quilting and felt patchwork are truly iconic. Rizkallah was born in Egypt and studied at the Ecole de dessin appliqué and the Ecole des arts decoratifs in Paris. His designs seem to combine that sense of couture lines that he gained in Paris with the color and vividness of his homeland. These felt applique pieces are among my favorites of his. This piece is a little extra special as it is a piece that was deaccessioned from FIT museum. It's archive numbered tag from there is found on inner lining of the skirt.

I love these Malcolm Starr pieces - they really are works of art and the best of the sixties/seventies arts and crafts movement. The fabrics for this one combine a cotton for the bodice and a wool for the skirt. The cotton used for the top still has a crisp finish to it. The sleeves are a single layer of the cotton and then the rest of it is a padded quilted cotton that has top stitching and what feels like a touch of padding inside. The skirt has a slight felted finish to it and then onto that are those fantastic felt appliqués. These are both fabrics that hold shape and color beautifully. The bodice is cut to skim over you with a high collar and matching fabric covered buttons that run down the front. It tucks and is attached into the skirt. One interesting thing to note is that is that it is just tacked along the inside waist. What I love about this is that in theory you could actually separate these two so that instead of a one piece you have a separate top and skirt. It would be extremely easy to do and it would make both pieces far more wearable because you could then mix and match them. In fact after seeing this dress I suspect that many of these felted appliqué skirts that you see by him out there for sale once did have an attached top.The  waist line is defined with a band with a piped velvet band that circles around and ends in a bow at the front. The skirt has pockets hidden along each seam. I love the appliqué work that runs all the way around the dress. It looks to depict a woman and two boys holding balloons and then this pattern is repeated all the way around. The figures and balloons are all made from appliqued felt that has been applied by hand to the skirt. I love the red band at the bottom that finishes off the skirt. It is the perfect pop of colour to highlight everything else and anchors the piece. It's gorgeous and these felted pieces are among the most desirable of all of the Malcolm Starr pieces out there. Excellent condition with a small note below

Both pieces are fully lined except for the sleeves. Each piece has its own back set zipper to close and the cuffs have hidden set zippers. The piped belt snap and hooks into place around the waist. Pockets along the seams at the front. The buttons at the front are technically functional but the opening has been tacked closed as it's only meant to be decorative. I see grubbiness at the hem along the fold line and the occasional teeny darkening to some of the belt pieces. The pull tab of the zipper pull is missing off the skirt.

Sleeves: 24"
Shoulders: 14"
Bust: 17" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: 16" from top of bodice to waist
Skirt: 44" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD4169

Reference Photo: Lauren Hutton in Malcolm Starr, Vogue 1970.

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

Yves Saint Laurent opened his first ready-to-wear boutique on September 26, 1966 in Paris. For the opening he showcased his Fall 1966 Rive Gauche collection but what a lot of people don’t know is that he already had a rtw line. He created his first ready-to-wear collection for the Fall of 1964 with an in-house boutique collection of 35 designs including accessories. This dress is from one of those extremely rare collections that pre-dates the opening of the shop. It is from the Spring 1966 collection and represents one of the earliest ready-to-wear pieces he would have made. Because it pre-dates the actual boutique opening it would have only been made available to you if you were an existing couture client. Only a few of these would have been made. The numbers are probably along the same lines as the couture pieces as far as quantity. This one is extra special because it’s documented which is even more rare. We found a copy of the original sketch and fabric samples in one of the the Saint Laurent books and even they did not have the actual dress to show with that sketch. He did two pieces for the collection in this fabric. The first photo after the label shot here is the twin to this dress and the second is the other similar one that was a part of this collection. Finding a piece that was a forerunner to the boutique launch when that boutique concept went on to revolutionize the world of fashion is truly something truly special. This is a dress made valuable by its place in history.

The dress is beautiful in its simplicity. It is made out of a loose woven cotton feeling fabric that has a stunning and vivid floral print screen onto it. The print is the same that you see in the sketch fabric samples in the attached reference photo. It is a bright combination of blue, green, pinks, corals and yellows all done in an intricate floral pattern that covers the entire dress.The sleeves are cut to go to just past the elbow and are cuffed. On the cuff they have two sets of little snaps spaced close to each other so you can bring the cuff in a little bit to hold them in place in case you wear them pushed up higher on the arm. Above that they pouf out above the cuffs for a pretty fullness. The neckline is scooped at the front and at the back. At the back that scoop dips a little lower for a bit of skin to show. I love how it buttons to close above the zipper at the back with two matching fabric buttons. At the front there is a seam that is set just under the bust. You were meant to tie a ribbon under there as you can see in the sketch. I added a pretty blue grosgrain ribbon but you could add any colour ribbon that picks up on any of the colours of the dress or the accessories you choose to wear with the dress. The dress falls from there and widens out to be very loose and easy over the waist and hips before falling down to the floor. This beautiful A-line baby doll feel is a perfect representation of this era. It would have been the height of chic to wear this shape of dress at the time and its still a classic silhouette now. I photoed the dress without any ribbon so you could see how it looks that way and I also took a shot of it with the ribbon tied around the natural waist. The look of the dress changes completely depending on which of the three ways you wear it and I love the versatility that this adds. The simplicity of the cut lets that stunning floral design take center stage. This is a stunning museum worthy example of his earliest RTW work and it is fabulous. Excellent condition with one tiny note below

Fully lined in a black silk and closes at the back with a zipper and buttons above that. Each cuff has snaps as seen in the photo before the label shot. The hem is finished with a finished edged seam and may have been let down at some point. There is a tiny area on the bodice where a couple of the threads of the weave have broken. It is backed by the lining so only seen upon close inspection but I am pointing it out for accuracy. Please see the photo after the label shot

Sleeves: 23"
Shoulders: approx 15"
Bust: 17.5" flat across from side seam to side seam
Seam under bust: 17.5" flat across from side seam to side seam
Natural waist: to 20" flat across from side seam to side seam
Hips: to 22.5" flat across from side seam to side seam
Bodice: 9.5" from top of shoulder to seam under the bust
Skirt: 48" from seam under the bust to hem

Modern Sizing Equivalent: XS-MED

Item# DD4171

Reference Photos: Drawings of the Fall 1966 Yves Saint Laurent Collection. From the book "Saint Laurent Rive Gauche Fashion Revolution."

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