Ossie Clark once told an 18 year old Marianne Faithfull to go back into the dressing room and take off her bra and knickers. ‘How do you expect me to go out like this?’, she asked him, and he replied, ‘You're meant to be able to lift your dress up at any time, and pull down the top, and just have sex.' ....That little story pretty much sums up the attitude of wearing an Ossie Clark. They are sensual, sexual and yet still utterly beautiful. He as a master cutter and his main line clothes were made at a Couture level. He could cut freehand and was one of the first designers to source clothing from the past to use as inspiration but his designs were always uniquely his own. He was relentless in making the female body look as good as he could and did what it took to achieve that. He once told the Sunday Times ‘I don’t care how much anything costs as long as it’s beautiful.’ The period of his work between 1965-1974 was pure fashion porn and will never be equaled.

Ossie named all his couture dress and this one is known as the ‘Bridget’, said to be named after Bridget Bardot who was said to be a regular at the Quorum boutique. The design is first mentioned in the book on Ossie by Judith Watt as part of the 1968 collection but variations of it were photoed up to 1973. A tulip print was captured on Marianne Faithful herself. Variations of this dress also appeared in Vogue UK and a floral version landed on a young Anjelica Huston for a Selfridges ad.

The dress is made out of a satin backed, black crepe, that wraps with a low and wide plunge at the front. The sleeves are a puffed capped and the front and back gather into the yoke across the shoulders. It wraps with long ties at the waist and has a padded waistband. The skirt is very full with yards of fabric in its construction. A series of tightly spaced knife pleats run down each side. These were a signature hallmark of this particular dress. The dress is in overall excellent condition but does have a note concerning condition to review below.

The fabric is self backed. It wraps to close and ties with the attached ties. It is labeled a vintage UK 12. There is some slight fading across the upper shoulders and the back of the collar. Where it is makes it a non-issue when its on but it is there. Being solid black re-dying is a potential option if this bothered you. These are so rare the effect to the value is minimal. The wrap style should allow it to fit a variety of sizes. 

Slightly inset shoulders: 13"
Bust: to approx 17" flat across from side seam to side seam
Waist: 11-13" flat across from side seam to side seam
Hips: open
Bodice: 14" from top of bodice to waist
Skirt: 40" from waist to hem

Modern Sizing Equivalent: XS-MED

Item# DD3363

Reference Photos: (1-2) Martha Hunt in Ossie Clark from Shrimpton Couture, Cannes, May 2018.  /  (3) Model (Camille Neviere) in Ossie Clark from Shrimpton Couture. Photo by Angela Y. Martin. (Styling: Ulia Koles. Hair & Makeup: Larissa McCourt).  /  (4) Model in Ossie Clark for Quorum, Shot by Henry Clarke, Vogue UK, September 1971.  /  (5) Anjelica Huston (right) for Ossie Clark, Cosmopolitan, May 1972.  /  (6) Marianne Faithfull, 1973.  /  (7) Pattie Boyd in Ossie Clark.  /  (8) Credit 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 was one of the stand out coats from the Pre-Fall 2011 Stella McCartney collection and this grey version quickly caught the eye of a lot of women and sold out worldwide. It has a lovely androgynous feel to it with its play on a mans low slung classic double breasted coat. It has slightly sloped shoulders whose slouchy feel is offset but her extension of the shoulder seam so it has a hint of a cap. The cut through the body is oversized through the upper portion and then it narrows down into the hip. A single large pockets sits on one side at the middle of the jacket, like a dropped breast pocket. Hidden pockets also sit along each hip. It is warm and easy to wear. Looks to have been worn very little if at all. Excellent condition. 

Fully lined in a black silk textured fabric and closes with the low set double row of buttons at the front. Pockets on each hip. Tagged a modern 40 but cut to feel more oversized. Please know your size in her line or make sure to check the measurements below.

Sleeves: 25"
Shoulders: 15.75"
Bust- hem: to 21" flat across from side seam to side seam, widening to 23"
Length: 34" from neck to hem

Modern Sizing Equivalent: MED-LRG

Item# C532

Reference Photo: Pre Fall 2011 Stella McCartney Collection, Look 23. Model: Ieva Laguna.

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 ready to wear version of what walked the runway for the Fall 1992 Haute Couture show. The runway version was leather and fur but here he has decide to go full on faux. The sleeves are magnificent and have all the fullness and impact of the couture version. They are incredibly full and made of a black faux fur that is glossy and thick. The body of the coat is a textured chenille velvet that does an incredible job of mimicking astrakhan. This is achieved by the swirling fabric and palette of greys and blacks. The neck line is high and the body of the jacket is cut in a straight line. It closes down the front with buffed wooden buttons. The sleeves are the star if the show and each is a full 24" around at their widest points. The come on at the wrist and I love the contrast between the two colors and the statement the strong black sleeves make. Such impact. Excellent condition.

Fully lined in a black silk satin and closes at the front with a row of carved wood buttons. Pockets on each side. It appears to have been worn very little, if at all.

Sleeves: 25"
Shoulders: 15"
Bust: 18.5" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: 21" flat across from side seam to side seam
Length: 26" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# C531

Reference Photos: (1) Yves Saint Laurent Fall/Winter 1992-1993, Paris, France.  /  (2) Cherie, Owner of Shrimpton Couture.

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

The Diorling label was introduced at the Christian Dior London boutique on Conduit Street in 1968. It was meant as a ready to wear label and to appeal to his younger clientelle primarily in London. The name came from the perfume of the same moniker that launched in 1963. The line was created and designed by Jorn Langberg, Artistic Director of Christian Dior London. Pieces under this label stopped being produced until 1973 so we have a definitive window to date the clothing with this label. The number on the label most likely denoted a custom order. It is an important part of Dior's history and pieces are held in museums around the world.

This coat is wonderful. It is made of a woven fabric that almost has the feel of a linen type fabric. This creates the wonderful black and white check design that covers the entire coat. In person this fabric choice gives the coat a richer feel and you get more of a sense of the texture it creates. The coat is cut neat and slim with a notched collar and lean sleeve. It closes down the front with ta row of large round matte black buttons. The waist comes in slightly for definition at the front while at the back the bottom panels are more flared fora  touch of volume. I love how the fabric at the back is set in the opposite direction to highlight this slight change in design. The overall effect is simple and neat with the attention given to the cut and line, allowing that amazing fabric to take center stage. Excellent condition with a small note to review below

Fully lined in a black silk. Pockets hidden on each hip. Closes with the large buttons down the front. Finished button holes. The label is numbered 8109. It appears to have not been worn much at all but there are some small faint storage spots. They are minimal but there upon close inspection . Please review the photos after the label shot

Sleeves: 22"
Shoulders: 14.5"
Bust: 17.5" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Length: 39" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# C530

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 Swash Buckler top is from the Fall 2017 Rosie Assoulin collection. On the runway this same print was shown on the finale gown. These tops were a hallmark of the collection and their high drama is an easy way for a modern girl to step out in the evening and be able to pair it with pants or a skirt and still get a high glamour feel. The top is an amazing feat of proportion and cutting. The front has a v-neckline with loose ties at the neck. This tops a curved yoke and then the body of the top flares out under that. The fit through the body is relaxed and the sleeves are cut into fantastical bubble sleeves. They are set low on the sides and then pouf out and are cut on a curve so that they follow the arm and maintain the same pouf from the shoulder to the cuff. The cuffs are cut extra long and slit so that you can wear then unfolded and over the hand or flip them up. The back has a ton of volume and the choice of the fabric keeps it light and airy in feel. I love it. Excellent condition

It is constructed from a double layer of the organza. It slips on to wear with ties at the neck. Each cuff has two silk covered buttons and loops to close. Tagged a modern brand size S but the cut is very generous so it should fit a variety of sizes.

Sleeves: 27" from shoulder to longest point of cuffs
Shoulders: approx 16"
Bust: to 19" flat across from side seam to side seam
Waist-hips: open
Length: 28" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# S898

Reference Photo: Rosie Assoulin Fall 2017 Collection, Look 41.

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

This is an incredible and very rare set by Halston from his main line. The top part of the set is very similar in feel to the one worn in the famous 1978 image of his 'Halstonettes" taken in the Halston offices. In that photo, the same metallic lurex is used in a different color way and the gathered bodice tops full pants. Here the pieces are more distinctively separate as a bandeau top and skirt.

This set is magnificent and such a rare fine. Both piece are made from the finest, lightest metallic lurex lame and the color is a deep true purple. The top is gathered on two pints on either side and you can wear these at the side as I have photoed it, or wear the gathers down the center front and back. It is lined in a nude stretch jersey. It simply zips into place and it's done. There is some flexibility on how much midriff you wish to show between the top and the skirt. You can push it up and gather it a touch more to really show off a band of bare skin underneath, or pull the fabric down to almost meet the waist of the skirt as I have photoed it. The skirt underneath is a flirty little thing and it is cut with tremendous volume that only shows itself when you move. The lightness of the fabric allows it to lie fairly smooth when you are standing still, but in reality it is pretty much a full circle skirt. It is unlined and instead is made up of three layers of the feather-light lurex. This gives it just enough opaqueness to not be scandalous but in a strong light you would still see shape underneath. It's amazing and a rare, museum worth piece by on of the greatest of American designer. Excellent condition.

The top is lined in a nude stretch lingerie jersey. It has an inner waist stay that hooks to close. It zips at the back and has boning built in along the side there and at the front middle. The skirt has no lining and is made of three layers of the fabric as noted above. It hooks to close at the waist and snaps under that.

Bandeau
Bust: 17.5" flat across the top from side seam to side seam
Inner waist stay: 13.5" flat across from side seam to side seam
Height: 9" at the boning. The fabric on either side og the boning can be worn more or less gathered for more or less coverage

Skirt
Waist: 13.75" flat across from side seam to side seam
Hips: open
Length: 29" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3354

Reference Photos: (1) Alva Chinn, Halston and Chris Royer at Olympic Tower, September 1978. From the Book 'Halston' by Phaidon.  /  (2) Model in Halston, 1978. 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.

This is an extremely rare and early set by North Beach Leather dating to the late 1960s, early 1970s. Michael Hoban and Frank Morgan started the label in 1967 and quickly gained a huge following. Elvis Presley, Tina Turner, Janis Joplin, Jimi Hendrix, Elton John... all major celebrities that wore the label. It was expensive in its day and each piece was made entirely by hand.

The set is entirely hand crafted using a combination of a deep chocolate suede, beads and feathers. The set is made up of two pieces. The top is a tiny halter top that ties onto place with the long braided suede cords that curve over the shoulders, cross and loop into the sides of the halter and then tie at the low back. This leaves you very bare across the back. The front dips low between each side of the halter triangles and the entire midriff is exposed. Hand placed feathers adorn the center. The same feather detailing is picked up on the skirt. The skirt is cut long and then wraps and buttons into place. Each button is hand covered in a matching suede and each button hole hand finished with their signature whip stitching. Feathers are hand placed in little bunches that are each finished with a a leather base that is accented with a hand made clay bead. These run down the high slit on the one side under the buttons and then around the hem. All of the edges are finished with whip stitching and you can easily see the hand work inside as well. It is incredible and a very rare example of the early work they were doing. Excellent condition

Made by hand. The top ties into place and the skirt buttons. Any variation in the suede is natural. Please read the note at the bottom of the description regrading feather pieces

Top
Bust: each triangle measures 4.5" across at its widest point. The base part of the front measures 17.5" across. The ties at the back make it variable in size otherwise
Skirt
Waist: 13" flat across from side seam to side seam
Hips: 16" flat across from side seam to side seam
Skirt: 43" from waist to hem including feathers
Slit: approx 34" from hem up

Modern Sizing Equivalent: XS-SML

Item# DD3351

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

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

I have had a similar dress to this one in the shop before that was in a darker color combination and with slightly different neckline, but I think that I love the vibrant pink of this one even more. It is a stunning design and I was very happy to find that it was the dress featured in the ad campaign for the brand in 1973 as seen in the reference photo included her.

The dress is made out of an easy to wear and travel with silk jersey in a bright vibrant pink. Using this particular fabric not only made it travel friendly - you can literally pull it out of a suitcase and it will be virtually wrinkle free - but it also allows the colors to stay as crisp and true as they would have been when it was produced. I love the brightness of it and it is even better in person. The dress is cut halter style at the front where it is cleverly sewn down the upper center part to stay closed and then opens below that. From just under the bust to the waist seam is left open to shows off an expanse of bare skin. The straps cross over them selves and then wrap around the neck to close. This leaves the back completely bare to the waist. Under that the skirt falls to the floor and even has pockets on each hip. Excellent condition with one tiny note below

Unlined and ties at the neck. Closes with a low back painted metal zipper and snaps at the waist band. Hand finished. I see a small area of a nick to the fabric near the side seam towards the front. Please see the photo after the label shot. It is very minor and appears to be stable. The color is brighter and a more vivid pink in person. Tagged a vintage 4. Note the waist does close properly - it was just a little small on the dress form.

Bust: variable with no true side seams
Waist: 12.5" flat across from side seam to side seam
Hips: open
Bodice: approx 15" from shoulder to waist
Length: 41" from waist to hem

Modern Sizing equivalent: XS-SML

Item# DD1970

Reference Photo: Oscar de la Renta Ad, Vogue US, April 1973.

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 silver grey tag on this top is the label that was used starting in 1994. I went through the collections and narrowed it down to the Spring 2005 as the best possible on that this could be from. It has that same backless, tie, floral feel. This one combines more pf the pleated fabric that has become his signature then the more literal flower pieces shown on the runway. The top is a bright pink and it is made out of what feel like a light cotton linen mix. The front is a simple fabric breast plate that has that incredible detailing on it. The pleated fabric has been attached and manipulated on to this to form a petal like curving structure in the center and then drape around this to the edge. Straps made of the same fabric curve up and over each shoulder and then this crosses down the back and attached to the ties that extend out from each side. They then trail down long past the hips. The side straps tie and then trail down the back in a long extension of pleated fabric. It is amazing and a definite important future collectible that will only increase in value. Excellent condition

The back of the front part is finished in the same fabric as the rest of it is made out of. Tagged a 2 but should fit a range of sizes as long as it is wide enough to give you the coverage needed. The color is a bit brighter and crisper in person.

The main front part is 14" across at the widest part at the bust and it is approx 12" long from top to bottom. The ties adjust to fit

Modern Sizing Equivalent: XS-SML

Item# S894

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 exceptional piece of vintage Chanel and a rare find. This is a very early piece of Karl's work for Chanel. His first collection was in 1983 and  it is amazing to have a verified piece from just a few short years into his long career there. A version of the dress made of the same fabric walked the runway that season and we were able to find that reference photo. The hand written tag on the dress is also marked 1986 and there is a special order tag from Bergdorf's with the exact date and client name. It is a wonderful example of the work that Karl was doing for Chanel during this time period.

The dress is made from a of a metallic gold thread set on a black silk chiffon. The effect that this gives is that it is a gold lace. You only realize that it is made of that fine gold metal thread as you get closer to it. This fabric treatment also gives it a touch of a 3D feel. Under the top part of the dress is a inset bodice made out of black silk chiffon. This leaves the upper shoulders and arms covered in just a single layer of the chiffon and gold so you get a touch of transparency there. The cut of the dress has been kept fairly simple so that the fabric can take center stage. The neckline is set slightly wide and the edges of it follow the lace pattern. The sleeves are long and the bodice is cut to skim over the buts and waist. This  then flares out to the hem of the skirt. The front is cut to a more cocktail length and this curves down into a longer back skirt that is a true maxi length by the time it reaches the longest point of the back hem. This high low cut is tremendously fabulous and it lets the dress have more range. You are able to wear it to both a less formal cocktail affair, yet it will still work for a formal event as well. It has the Chanel boutique label with a hand written label below that with the date and other information. It is beautifully made. Excellent condition

Full lined in a fine black silk chiffon with an inner chiffon bodice suspended by tiny straps and in inner silk skirt. Hand finishes. The inner bodice has its own zipper to close it and then the outer layer closes with a series of buttons and loops down the back.Buttons and loop at each cuff. Cut slightly on the bias so may come up a touch in length when on depending on your frame

Sleeves: approx 23"
Shoulders: no true defined seam
Inner bust: to 18" flat across from side seam to side seam
Inner waist: to 14.5" flat across from side seam to side seam
Inner hips: 19" flat across from side seam to side seam
Length: 49" from top of shoulder to front hem, 60" to back hem

Modern Sizing Equivalent: SML-MED

Item# DD3345

Reference Photo: Ines de la Fressange models for Chanel 1986-1987 Fall-Winter collection. Photo by Pierre Vauthey.

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 exquisite Pierre Balmain Haute Couture dress is a stunning and very rare example of what the house was producing during this time period. It is true Haute Couture and has been entirely made by hand to Haute Couture standards. You can see a striking resemblance to the  Fall 1954 "Ecume" dress combined with elements from the "Clorinde" dress from that same season. There is also an even closer resemblance to that famous photo of the model and dress captured back stage by Mark Shaw that season. You can easily imagine that this dress was derived from the different elements of these, while tweaking the details to be more perfectly reflective of the clients personal style. It is wonderful and a joy to have it come into the shop.

The dress is constructed from a hand made ivory Chantilly French lace that is outlined with a fine silk cording. The cord has been meticulously hand applied to the lace. It follows the outline of, and defines each delicate motif within the lace's pattern. The lace portion of the dress begins just under the high and defined waist and the entire lower portion of the exterior layer of the dress is done in that stunning lace. I love how at the very hem the lace edges have been meticulously hand stitched into a silk organza so that the hem is perfectly straight. The bodice is kept with a more simple silk jersey fabric to contrast the high level of workmanship that the lace has. It is strapless and the cups are shaped and molded underneath the jersey. The silk has been is hand draped so that is sits  in soft folds over the bust. The folds are set on a slight angle and one section in the middle has been used to create a wide open loop. Through that opening winds a wide black silk taffeta sash that drapes down at the front to follow the curved angle of the bust line and then ties at the back. I have tied it into a more formal bow but you could also leave this to trail down the back. The use of the contrasting black ribbon adds both a simple and romantic touch and also visually cinches in the waist area even more then the interior corseting already does. The skirt billows out to a beautiful fullness beneath the tapered in waist. The shape and fullness that you see is built into the skirt through layers and layers of silk netting and tulle underneath. The inner construction of the dress is absolutely exquisite with a boned and corseted interior made entirely made by hand and to Haute Couture standards. Under the skirt there are a three full layers of silk tulle and netted underskirts to achieve the shape that you see. I did not add any additional crinolines here but you could create an even fuller shape by adding a separate underskirt if you wished. It is a beautiful example of the very early work that the House of Balmain was doing and a wonderful example of the golden years of Haute Couture. Excellent condition with some small notes to review below.

Fully lined in a ivory silk with extensive boning, inner construction and skirting. It closes with an intricate combination of the Balmain signature, multiple chest and waist stays and two zippers. One to close the inner corset and the other to close the exterior dress The inner layers of the skirt are attached with some having addition half layers at their hems for additional volume. The innermost skirt is interlined with netting and the built in corset is made of lingerie netting and hand done padding. It is boned with metal boning. There is perhaps some very minor darkening to the lace here and there. Very small areas here and there of darkening to the inner bodice. On the exterior bodice there are areas of light yellowing that run across the sides. It is very faint and once on I think you would never even notice it as they are across the fabric and in the folds mainly. None of this compromises the strength or integrity of the dress and it is strong and wearable with the care. All of the photos to show the stunning details of the dress are before the shot of the label and the shots to show the sides of the bodice mentioned above are after the label shot. It really is in remarkable condition. Proper Haute Couture label and tape underneath, though the writing on the couture tape under the label has faded to almost nothing.

Bust: 15" flat across the back from side seam to side seam with cups built in that would fit an A or smaller
Waist: 11.5-12" flat across from side seam to side seam
Hips: open
Bodice: 5" from top of bodice to seam under front cups
Skirt: 36" from seam under the cups to hem

Modern Sizing Equivalent: XXS-XS

Item# DD3344

Reference Photos: (1) Model Ann Farrar in Pierre Balmain A/W 1954-55 "Ecume" Dress. Photo by Philippe Pottier.  /  (2) Backstage at Balmain, 1954. Photo by Mark Shaw.  /  (3) Marie-Thérèse in an evening dress called "Clorinde" by Pierre Balmain, Fall/Winter 1954-1955 Collection.

This garment is sent in clean, as found condition and is odor free. Thoroughly checked over before shipping, it will be ready to wear upon arrival.

My client purchased this spectacular Vivienne Westwood gown from her mothers shop. She wore it to a friends birthday gala and that was the only time it was every worn. We narrowed down the date based on that info and also the reference photo of a similar gown that was shown for the Fall 1998 presentation.

The gown is one of the best I have seen and is utterly amazing. The cut and line of it are pure heaven. It is strapless and has that famous dipped and peaked bodice edging that Vivienne is famous for. Inside is one of her boned and shaped corsets that are constructed to cinch you in and push up the breasts. On an actual body you will get that full Westwood effect from this and the bow that sits at the bust only emphasizes this. the bow is constricted so that it curves out from the body and just adds even more bust shape and size. below that the waist curves in with vertical seam and then it curves over the hips and then flares out in a beautiful flared shape. The construction of the skirt is almost architectural and reminds me of that famous Charles James gown in the way that it flares and curves outwards on each side. The fabric is a heavy black silk satin that seems the perfect choice for the cut and feel of the gown. It is incredible and a rare find. Excellent condition

Fully lined in a black silk with an inner built in corseted bodice as shown. Inner wired peaks at the side of the bodice The corset zippers to close. The outer dress also zips to close with a hidden set zipper along the seam offset at the back

Bust: 15" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 51" from top of bodice to hem

Modern Sizing Equivalent: XXS-XS

Item# DD3343

Reference Photo: F/W 1998 Vivienne Westwood Ready to Wear Runway Collection.

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

This Yves Saint Laurent piece is the later version of the black one I also listed today and it is just as fabulous. The color of the deep burgundy sequins is amazing. The color is very rich feeling the sequins bring it to life even more. Every square inch of the piece is finished with them. For this one the sequins are laid out flat and set side by side to cover the entire piece. Like its slightly older counterpart it too can play double duty. It is more of a short, mini dress length but can also be worn as a tunic. Either way you will be showing off a mile of leg. The neckline is slightly scooped and the shoulders themselves are lightly padded and squared off so you get a touch of structure. The sleeves are long and the body of the tunic dress is cut to skim over the body in an easy, relaxed way. The sequins are shimmer in the light and in person it is even better then how it photoed. I love the piped detailing that finishes each cuff, the neckline then runs down the back on either side of the zipper. It's fabulous. Excellent condition

Fully lined in a burgundy silk  crepe and closes with a zipper at the back. Light padding in each shoulder. Tagged a vintage YSL 40

Sleeves: 24"
Slightly dropped shoulders: 15.5"
Bust: 19.5" flat across from side seam to side seam
Waist: 18.5" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 30.5" from shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3334

Reference Photo: Yasmeen Ghauri for Yves Saint-Laurent, F/W 1996-97.

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

Christophe Decarnin headed Balmain from 2005 as a designer and was named the Creative Director for the brand shortly after. He remained there until 2011. He was largely responsible for revitalizing the couture house, turning the label into his own rick-chic vision, and bringing in a much needed younger clientele. This tunic is a runway piece shown for Spring 2008. It's twin was worn as a tunic for Look 31 in the show.

The tunic is pure Decarnin - it has the unexpected rock chic feel to it and you can easily see its influence with what we are now seeing on the runways. Every square inch of the piece is finished with little silver sequins. I love that they are not your typical round sequins either. Each is a bit of an abstract shape and they have been applied to the silk organza underneath with silver metal thread that is top stitched over them. This creates its own secondary texture and gives the sequins a more interesting effect. It is also a little extra special because it can potentially play double duty. It can absolutely be worn as a tunic but if you are brave and don't mind showing off a mile of leg it is probably just long enough to be worn as a micro mini depending on how it sits on you. Especially with the addition of a pair of tights underneath. The neckline is scooped and the shoulders are unstructured so that is sits loose and easy on the body. The sleeves are long and the body is cut to skim over the body in an easy, relaxed way. The sequins are a brilliant silver in person the way they shine and shimmer in the light is far better then how it photoed. It weighs almost nothing and it is a piece that perfectly sums up Decarnin's tenure at the brand. Excellent condition

The sequins are directly applied to a white silk organza and it slips on to wear with no closures. Tagged a 36

Sleeves: 19"
Slightly dropped shoulders: 15.5"
Bust: 17" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 28" from shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD3333

Reference Photos: Spring 2008 Balmain Runway Collection, Look 31. Model: Kim Noorda.

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 1970 collection. A similar cut coat version with a shorter cape  and its twin was photoed on Francois Hardy for Vogue in 1970 and this cape has that same feel. That and the label it has tell us that it is from around that same time period. It is made of a gorgeous, deep purple wool and is cut to be fitted and sleek through the inner body. At the lower portion of the inner coat part, it flares out dramatically when you move because of two high slits that run up the hem on both sides. There are two pockets on each hip and it buttons up the front with big glossy domed buttons. This inner part is unlined so your arms are left free and easy. Over this is a wonderful and full cape that is attached around the neckline. This is cut so that it hangs longer at the center of both the front and back. There is a tin of fabric in it so that when you move you get wonderful movement from the fabric. It is a good weight and warm so practical as well. This is a very unusual and rare color that I have not seen before. Normally you see these in black or browns only. The cut is impeccable and it is a great piece of fashion history. Excellent condition with a minor note below

Unlined and buttons down the front to close. Pockets along the side hips. There is one teeny pinhole that is hidden under the cape when its on and a couple of tiny nips on the very top of the fabric near the shoulder. These are very faint. It should fit a variety of sizes

Inner bust: to 19.5" flat across from side seam to side seam
Waist: to 20.5" flat across from side seam to side seam
Hips: to 23.5" flat across from side seam to side seam
Length: 57" from neck to hem
Slits at the sides: 21" from hem up
Cape: to 35" from neck to longest point

Modern Sizing Equivalent: SML-LRG

Item# C526

Reference Photo: (1) Francoise Hardy wearing a coachman's coat with small cape by Yves Saint Laurent for Vogue, August 1st, 1970.  /  (2) Yves Saint Laurent Cape, 1969.  /  (3) Cherie, Owner of Shrimpton Couture. (Cherie is also wearing a c.1997 YSL Hat - click here to shop that)

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 incredible bikini is one of two I have in the shop today. This one is slightly smaller then the other and both are equally fabulous. These were all the rage in that 1968 time period. Anyone who was anyone had Pucci in their suitcase as they jetted off to the all hot spots on the planet. The bikini is made out of his signature cotton twill with one of his gorgeous custom designs printed over its surface. This one has a more pastel feeling print with its soft pinks mixed with coral and taupe, all set into a curving pattern. The bikini top is formed and shaped with the inner cups built in. The straps have elastic running through them for comfort and it buttons to close at the back. There are two buttons there and more elastic inside at the sides so that you can get the perfect fit. The bottoms have elastic panels at each side and a fuller coverage over the bum. They are set very low on the hip to balance that extra coverage. This cut was the height of sexy for this time period and considered very daring. At the front a shaped flap of the cotton twill folds over the inner bottom and gives it that distinctive and iconic Pucci feel. These were usually worn to death and much loved and the print often ran a touch on them. This one is in overall great condition with a few small notes below.

The top has inner built in cups and the bottoms are unlined with a cotton gusset. I see no flaws on the top. The bottom has some very light marks on the inner gusset as shown. It is freshly cleaned. The gusset could easily be replaced or removed. There is some minor areas of color run through out that often happens with this fabric from this time period. Please review the shots after the label shot and before the reference photo for the worst areas. Tagged a vintage Pucci 12

Top
Approx 10" from top of strap to bottom
Bust: 15-17" flat across from side seam to side seam
Cups are approx a A-B cup

Bottoms
Across the top which sits low on the hip: 17-18" flat across from side seam to side seam
Hip at the top of the leg hole: 17-19" flat across from side seam to side seam
Top to inner seam: approx 10" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# S891

Reference Photo: Pilar Crespi in a Pucci bikini, Vogue, 1968. Photo by Patrick Litchfield.

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 incredible bikini is one of two I have in the shop today. This one is slightly larger then the other and both are equally fabulous. These were all the rage in that 1968 time period. Anyone who was anyone had Pucci in their suitcase as they jetted off to the all hot spots on the planet. The bikini is made out of his signature cotton twill with one of his gorgeous custom designs printed over its surface. This one has a more tropical feeling print with its bright coral pinks mixed with fresh, crisp greens. The bikini top is formed and shaped with the inner cups built in. The straps have elastic running through them for comfort and it buttons to close at the back. There are two buttons there and more elastic inside at the sides so that you can get the perfect fit. The bottoms have elastic panels at each side and a fuller coverage over the bum. They are set very low on the hip to balance that extra coverage. This cut was the height of sexy for this time period and considered very daring. At the front a shaped flap of the cotton twill folds over the inner bottom and gives it that distinctive and iconic Pucci feel. These were usually worn to death and much loved and the print often ran a touch on them. This one is in overall great condition with a few small notes below.

The top has inner built in cups and the bottoms are unlined with a cotton gusset. I see no flaws on the exterior of the top. The material used for the built in cups has dried out and begun to stiffen. These could be replaced. The bottom has some very light marks on the inner gusset as shown from color run only. It is freshly cleaned. The gusset could easily be replaced or removed. This often happens with this fabric from this time period. Please review the shot after the label shot and before the reference photo. Approx a vintage Pucci 14

Top
Approx 10" from top of strap to bottom
Bust: 16-17" flat across from side seam to side seam
Cups are approx a B-small C cup

Bottoms
Across the top which sits low on the hip: 14.5-18" flat across from side seam to side seam
Hip at the top of the leg hole: 17-19.5" flat across from side seam to side seam
Top to inner seam: approx 11" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# S892

Reference Photo: Pilar Crespi in a Pucci bikini, Vogue, 1968. Photo by Patrick Litchfield.

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 Haslton was still in full control of his brand. He had not yet signed the international licensing agreements (that was to happen in 1983) that would be the beginning of his downfall. In fact, 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.

The fabric for his beaded and sequin pieces were being made in India. Halston personally chose the fabrics and materials that were used for each piece of his main line collections. The 1981 collection was especially intricate and the majority of the runway garments were heavily beaded and/or sequinned. In the book Halston, An American Original, the twin of this dress is shown as it appeared on the runway for that season. It is interesting that he chose to show it belts belted with a sash so that the length is shorter. The dress is extraordinary and all of the bead work on it is completely done by hand. The beads are tightly spaced and all have been hand applied onto the fabric which you can clearly see on the back of the fabric. I love the pale mix of pastels colored beads that were used as it gives the dress a soft and pretty feel. The fabric that the beads have been applied to has just the slightest touch of transparently to it which I love. The silhouette is very simple with a scooped front and back and then it just gently widens out as it reached the hem. This makes it very easy to wear and very flattering on the body. Really a wonderful and rare example of his work during this time period. Excellent condition.

Unlined and has no closures. It slips over the head to wear so you have to be small enough to get it on without a opening. You could probably add a side zipper along the seam if needed. The bead work is completely hand done.

Bust: 17" flat across from side seam to side seam
Waist: 16.5" flat across from side seam to side seam
Hips: to 19.5" flat across from side seam to side seam
Length: 41.5" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3322

Reference Photo: Spring 1981 Halston runway collection from the book 'HALSTON: An American Original' by Elaine Gross & Fred Rottman.

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3319

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

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

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

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

Modern Sizing Equivalent: MED-LRG

Item# DD3312

Reference Photo: Alexa Chung for AG. Photo by Adriano Goldschmied, 2015.

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

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

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

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

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

Modern Sizing Equivalent: MED-LRG

Item# DD3313

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3314

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

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3300

Reference Photos: (1) F/W 2013 Valentino Runway Finale Look. Model: Maud Welzen.  /  (2) Cherie, Owner of Shrimpton Couture.

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