I am always on the look out for this style of dress by Halston. It is perhaps the most iconic of all of the Halston silhouettes and in 2016 a red version of this exact dress entered modern day fashion history when Kate Moss wore its twin on the red carpet at the 2016 Cannes Film Festival. This was issued on a variety of colors and this one is of course the green version.

Halston was a master at this cut. There is a certain sexiness caused by the illusion of having the entire dress suspended by one hook at the shoulder. It gives the sense that undoing that hook would cause the entire dress to drop in a puddle around you (which it would). It is constructed from two attached layers.  The inner dress is cut from the same synthetic jersey and skims over the body in a long sheath. This inner part of the dress has a high slit cut into the side that travels up the side of the leg opposite to the draped side. Attached to that inner sheath lies a draped panel of jersey that is suspended from the shoulder. It falls from that shoulder down and over the front and the back of the dress. The dress hooks into place at the shoulder and the jersey cascades loosely down and over the inner layer for the ultimate Grecian goddess feel. This is a classic dress by Halston that is perfect for traveling as it is wash and wear and will travel exceedingly well with little to no wrinkling. It is very easy to style too - a quick change of shoe takes it day to night in a snap. Excellent condition.

Slips on to wear and has a hook at the top of the shoulder. These will fit a variety of sizes since they are not cut to be super fitted and the jersey does have some stretch. Tagged a vintage Small. Note the color is slightly deeper and a touch more vibrant then how it photoed.

Bust: to 18" flat across from side seam to side seam
Waist: to 19" flat across from side seam to side seam
Hips: open
Length: 54" from neck to hem
Slit: 28" from hem up

Modern Sizing Equivalent: XS-MED

Item# DD3179

Reference Photo: (1-2) Kate Moss in Vintage Halston at the 2016 Cannes Film Festival.  /  (2) Karen Bjornsen, Alva Chinn, Connie Cook and Pat Cleveland in Halston Dresses, photographed by by Harry Benson, 1978.

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# S842

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

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

A close version of this dress walked the Fall 1991 Couture runway. The Rive Gauche collections were designed as separate entities but you often saw pieces influenced by the work he did on the couture side of the business. In researching this piece I did see other similar versions done slightly later in the 1990s, but for me this was the one that felt closest to the dress available here today.

The dress is made from a slinky silk jersey that has enough weight and drape to it to perfectly fall in those soft, draped, sexy lines that Yves wanted it to be. It perfectly represents this time period and yet still has a touch of the 1940s that we so often see in his work. There is also a strong nod to his 1971 'Scandal' collection with the way the gathers are set through the waist and upper hip. The shoulders are set to sit slightly awider then the natural shoulder and this gives the illusion of an even smaller waistline. It skims over the bust and is plunged to the top of the high set waist detailing. The extremely low cut V of the front gives it a sexy edgy vibe. Below this the waist is gathered and set to hug your curves all the way through to the top of the hips. The skirt flows to the floor below that and is made of yards of silk jersey that give it movement when you move. Each side also plunges right down to that top seam of the waist and this little detail is the perfect finishing touch. I love that the color is a deep blue that is a touch brighter then a true navy would be. This is a color that is flattering on any skin tone and gives it a softer feel to the dress then had it been done in a black. It is amazing once on an actual body - much, much better then it could ever look on a dress form - and a rare find. Excellent condition

Unlined and closes at the side with a painted metal zipper. Tagged a vintage YSL 38. The fabric does have stretch so should fit a variety of sizes, stretching slightly  to accommodate curves and draping well on smaller frames.

Seam at the top of waist gathers: 13-14.5" flat across from side seam to side seam
Natural waist: to 13" flat across from side seam to side seam
Seam at bottom of waist gathers: 15-17" flat across from side seam to side seam
Bodice: approx 13" from top of bodice to top waist seam
Banding: 8.75" from top waist seam to bottom seam
Skirt: 38" from bottom seam to hem
Length: 59" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD3177

Reference photo: Fall 1991 Haute Couture Runway, Yves Saint Laurent

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 soon as I set my eyes on this dress I knew I had seen it before and after some extensive hunting I found the photo that it had triggered a memory of. A version of this dress was photoed by Irving Penn for the September issue of Vogue in 1967. That dress was by Geoffrey Beene but in a different color way and a version with a higher neckline. They are otherwise identical and the fabric is as good in this color as it is in that shot. Geoffrey Beene was one of the great American fashion designers and he was recognized for both his artistic and technical skills. He launched his label in 1963 and a piece from his very first collection landed the cover of Vogue. This is a wonderful and very early example of his work.

I barely feel the need to describe this dress to you as Vogue description is utter perfection. The text in the editorial states the dress as being a "new cloth of glow... a printed matelasse with clear lacquer colors webbed with silver threads for the beautiful evening proportion of a small covered top and the widest sweep of skirt." Matelasse is French for 'quilted' or 'cushioned' and in usage with fabric, refers to quilted textiles. It is meant to mimic the style of hand-stitched Marseilles type quilts made in France. This gives the dress a slight dimensional quality. The silver thread runs over the fabric for the slightest glint of a metallic feel. The upper bodice is meant to be fitted and the sleeves are long and slim. The skirt sweeps out with the volume created by the fabric choice that helps to hold the shape and by the way it is set in around the waist. Like the reference photo, this version also has pockets hidden along each hip. It is absolutely wonderful in person and I think even better then how it photoed. I am so pleased to have found documentation of this rare and wonderful piece of fashion history. Excellent condition

Fully lined in a silk taffeta in a pale peach color It closes with a back, painted metal zipper. Hand finished throughout. There is a good 4.5" of fabric turned up at the hem if you need more length and 2/5" turned up under each sleeve. Pockets along the seam on the hip

Sleeves: 22.5"
Shoulders: 14"
Bust: 17" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips" open
Bodice: 15" from top of bodice to waist
Skirt: 41" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3171

Reference photo: Photographed by Irving Penn, Vogue US September 1967

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 hunting for the date of this dress I found a photo of a dress from 1971 that has similar lines and ruffle details. Based on the other work Mr. Givenchy was doing during this time period it makes perfect sens that this would be from that year's collection. It is the Boutique label but very well made. I found a numbered tape inside the seam of the skirt and it may very well denote a special or custom order.

I love color and the design, the color, the workmanship - everything about this dress is perfect. At first glance the fabric appears to be a metallic silk brocade, but as you go closer you realize it is much more special then that. It is actually a fine and light woven netted lace with a blue metallic lurex thread running through the design. The play of the metallic thread against the non-metallic bits adds its own texture to the already textured lace. It is amazing and also very light in weight. The fabric has just a touch of transparency to it. Once you get past the sheer brilliance of the fabric you begin to notice the workmanship that has gone into constructing this. The bodice is cut to skim over the bust from the rounded neckline and then cinches into the waist. It has its original belt that can cinch the waist in more. I have photoed it both with and without the belt as you could wear it bot ways. The sleeves are cut long and slim and are finished with a ruffle that creates a beautiful bell shape. The skirt falls to the floor from there and gently widens out as is nears the hem. it is finished with that same ruffled detail to perfectly tie the dress together. Really a work of art and feels very fresh and current. Excellent condition with one small note to review below.

The bodice is unlined and the skirt is fully lined with a blue silk organza. It closes at the back with a fine metal zipper. Inner waist stay hooks to close. The belt closes with hooks. There is the teeniest of marks along the inner edge under the seam at the inner arms but they do not show through. Please refer to the photo after the label shot. There is a numbered tape along the inner skirt seam that I also photoed. Note that if you required more length it would be possible to move the ruffle down as it is set higher up the skirt rather then at the very edge of the hem. I think you could get a good 6" more in length. The sleeves are set the same way.

Sleeves: 24.5"
Shoulders: 14.5"
Bust: to 17" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Bodice: 16" from top of bodice to waist
Skirt: 40.5" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3167

Reference Photo: Jours de France Issue 844, 1971. 

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 two of these dresses available and both are the same size. Once both are sold the listing will say it is no longer available.

This Lanvin dress from the Spring 2015 collection is wonderful. From his very first collection for the Fall of 2002, Alber established what would be one of his most recognizable signature aesthetics - plenty of draping. This dress is based on just that with seemingly little structure at first glance, but once it is on you realize just how masterful that so called simple draping is. The dress is suspended from one shoulder and the bodice drapes across the bust and back in a way that utilizes the chevron pattern to its best. On the side with the shoulder you get a bit of a scooped feel down that side. The fabric is cleverly laid across the bust in a way that it shape the body and makes it feel long. It has an elastic waist and is incredibly comfortable and accommodating once on the body. Pockets are hidden along each hip for a touch of ease to the design and the skirt is cut super model long. I actually own the twin of this dress and can personally attest that it stands up to travel exceedingly well and will remain virtually wrinkle free straight out of a suitcase. It is also very versatile with the ability to go from day to night with a simple change of accessories. This one looks to have never been worn. Excellent condition

Unlined and slips on with an elastic running through the waist. Pockets along the seam of each hip. The measurement range below is the comfortable range of the fabric lying flat. It is very accommodating and will should fit a variety of sizes. Tagged a modern 42. It appears to have never been worn, or worn very little

Bust: 18-21" flat across from side seam to side seam
Waist: 13-18" flat across from side seam to side seam
Hips: to 27" flat across from side seam to side seam
Bodice: 17.5" from top of bodice to waist but will come up a bit on the body to sit on the natural waist
Skirt: 47" from waist to hem

Modern Sizing Equivalent: SML-LRG

Item# DD3164

Reference Photos: (1-2) Cherie, Owner of Shrimpton Couture, by Erin Leydon. 

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

From the Spring 2015 Runway collection, this Valentino dress is wonderful. Both Maria Grazia Chiuri and Pierpaolo Piccioli were designing for that house at the time and taking the atelier to new places. Vogue said of the collection that season, remarking specifically to the seaside themed dresses: "The collection was poetic, graceful, and beautiful. Chiuri and Piccioli touched on many of Italy's patrimonies, from its antiquities all the way down to its kitsch... the designers lavished special attention on the seaside, printing some gowns with starfish and snails, and embroidering others with shells, sailing ships, and underwater creatures like the Portuguese man-of-war....as always, it was the workmanship that astounded, be it extravagantly done, as the feather-embroidered numbers were, or more naively wrought, like those sea creatures. "In this moment when everything is synthetic, digital, and flat, you need something more human. To dream, you need to feel something, not just to see," said Piccioli."

The dress is stunning and made from a silk chiffon that is entirely cut on the bias so that it flows and moved beautifully over the body. The coral design, that is in keeping with the theme of that season,  runs over the entire dress in a soft neutral palette that plays against the pale ivory cream silk. It is almost weightless and yet constructed so that it drapes on the body perfectly. The skirt falls to the floor in a sweep expanse of fabric. Two layers of chiffon are built in underneath the printed top layer so that it has a light floating effect when you move. The waist is cinched under the lightly draped bodice and the back is scooped low in an asymmetrical curve to leave most of the back bare. The open line is broken only by the silk covered elastic band that runs across the scoop to hold the dress in place. If you prefer it to be completely open you could easily remove this so you get more of the look of the editorial photo from Vogue that I have included. The front of the top is cut with a classical one shoulder design that leaves the other shoulder bare. It is very beautiful. Excellent condition

Fully lined in an ivory colored silk chiffon cut on the bias. The skirt is made up of three full layers of silk. It closes with a low back hidden set zipper. The strap that goes across the back is attached on one side and hooks to close on the other with a row of four hook & eye. The shoulder ties into place with long attached ties. Inner waist stay. Tagged a US8

Bust: to 17" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Bodice: approx 15" from top of bodice to waist and can be adjusted
Skirt: 42" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3022

Reference Photos: (1) Valentino S/S 2015, Look 68. Model: Irina Liss.  /  (2) Photo by Mario Testino, Vogue US, Feb 2015.  /  (3-4) Cherie, Owner of Shrimpton Couture, by Erin Leydon. Cherie is wearing a Magnetic Midnight X Shrimpton Couture 'Stardust' Headpiece - available on the site here >

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 did a series of these silk velvet dresses for the fall of 1986. I have included a photo of Yves with Catherine Deneuve in a predecessor to this collection from 1985 and you can see the evolution of the printed velvet from that. It is the distinctive leopard feeling print creating by changing the direction of the velvet's pile that gives these dresses their unique feel.

This gorgeous dress mixes a solid black velvet with that printed velvet treatment. The patterned portions of the velvet are done in a way that suggests a leopard print and this particular fabric was one of the hallmarks of that season's collection. Here, Yves combines the solid  black velvet with the printed version effortlessly and uses the mix to highlight the lines of the dress. The bodice is done in a solid black and has a curving, shaped sweetheart neckline, inset and shaped. It curves in at the waist and then extends to just over the top of the hips. This gives it a corseted effect that is wonderful on the body. Its original. matching velvet tie adds extra shape and a pretty detailing to the line of the natural waist. The sleeves are done in the the printed velvet and are full and poufed. Each is cut to just past the elbow and when on a real girl they have far more volume then how they display on the dress form. The skirt is made of the same printed velvet as the sleeves are and it falls to the floor from under the  extended bodice in a pretty sweep of fabric. Soft gathers around that lowered final seam of the bodice give it volume that is more apparent as you move. As with many of Yves' pieces, showing them on a dress form really does them little justice. This is cut to work on a real girl's figure and is so much better on the body. It was also a touch too small on my mannequin and will do up at the back completely on the right sized girl. Excellent condition

The bodice is lined in a black hand set silk and the skirt is interfaced with a black silk chiffon. It closed with a back zipper. Each sleeve has elastic as its cuff and each shoulder has light padding. Original, matching printed velvet tie belt is present. It appears to have never been worn, or worn very little. Tagged a vintage YSL 34. There is about 2.5 inches turned up under the hem if you needed more length

Sleeves: 22"
Shoulders: 14"
Bust: to 16" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: 16.5" across lowest seam at very top of hips, open under that
Bodice: 14.5" from neck to waist, 4.5 from waist to lowest seam at very top of hips
Skirt: 39" from waist seam to hem including the 4.5"velvet portion under the waist seam

Modern Sizing Equivalent: XS-SML

Item# DD3163

Reference photo: Catherine Deneuve and Yves Saint Laurent, 1985

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

This collection was featured inthe video we have included here for 'Throwback Thursdays with Tim Blanks'. In the  introduction to the video Blanks states: "The designer was famous for his runway spectacles, but this one in particular lingers with our Editor-at-Large, not because it featured a rookie model by the name of Gisele Bündchen, but because of its extraordinary emotional resonance. 'It's proof that he was a magician.'". Vogue's review of the collection that year explains how the name of the collection became 'Untitled'; "While there was plenty of pain in Alexander McQueen's work, there was usually pleasure, and often some poetry as well. Such was the case with spring 1998’s Golden Shower show, renamed Untitled when the sponsors balked at the lasciviousness of the former title. Models walked down a runway made of water-filled Lucite tanks wearing tight snakeskin dresses and tailored intarsia suits. They were dressed in all white for the finale and were treated to a shower that made their mascara run and their all-white clothes see-through."

This suit is one of the the versions produced from that show and mentioned in Vogue's review above. His very early pieces are more rare and this one is a fabulous find that is still extremely wearable and highly collectible. It is in remarkable condition and is a bold statement piece. The fabric is the same as a men's suiting and it has a blue pinstripe that runs through it. Depending on the light, the base looks either black or a deep deep blue-black.  The lining is a periwinkle blue so when the jacket opens you get a flash of that bold color. On the pants the blue is used even more boldly, borrowing from the runway, with a wide inset ribbon in a blue checked wool insets into the fabric. This inset of fabric runs down one leg and then another wraps all the way around the hip. The tailoring has a strong nod to a menswear suit in its cut and the the lines are precise. The trousers are flat fronted and straight legged. The jacket has a beautifully tailored cut with a notched in waist line and strong shoulder. I love how he has set the two buttons on each cuff right at the bottom edge of the sleeve and that the cuffs on the pants are precisely 1 1/4". Excellent condition

The jacket is lined in a fine grade periwinkle silk. It closes with buttons at the front. Each cuff has two buttons and the buttons holes are finished but decorative only. There is an extra button sewn inside the waist band. Pockets at each hip of the pant and hidden pockets lie along the seam of the jacket. There is also a buttoned interior pocket and one exterior pocket on the breast. Both pieces are tagged a vintage McQueen 44 but check actual measurements below for sizing

Jacket
Sleeves: 24"
Shoulders: 15"
Bust: 18" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 27" from neck to hem

Pants
Waist: 14" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 41.5" from waist hem
Inseam: 31.5" from inner seam to hem

Modern Sizing Equivalent: SML-MED

Item# DD1985

Reference photos: Runway photo from style.com  /  Amanda Lee Shirreffs

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 Spring 2016 collection presented by Christopher Kane was a hit with many of the pieces selling out world-wide as soon as they became available. Including this one. Vogue own Sarah Mower's review of the show stated in part: "“Last season, she discovered sex” said Christopher Kane. “Now she’s crazy in love!”...Belaboring explanations is never the way to “understand” Christopher Kane, though. Getting him is always a case of whether you appreciate his electric fusion of weirdness and chic. There were jolts of that sort of current running through the details... Fun, odd and elegant by turns, this was a show which covered a lot of bases. No matter what life has been throwing at him, it proved that Christopher Kane is a solid designer."

This dress was favored by many of the street style set and its a treat to have found one in a more generous cut. The dress is a simple black, sleeveless sheath that has a hidden set zipper up one side so none of the line of the dress is broken. The neckline is plunged with a low cut V at the front and again at the back and the dress flares out a touch as it nears the hem. It is the fringe that takes this dress from a little black dress to a wow. From one shoulder down to the opposite hem on both sides runs a swath of fringe in a bright, bold blue. When you move you realize that there are two other layers of fringe under that. One in green and the other in white. The movement and color that this creates is fabulously bold and fun. The dress looks like it has never been worn, or worn very little. Excellent condition

Fully lined in a black silk and closes with a hidden set zipper up one side. Tagged a modern UK12, US8, EU40 and is cut generously. Note that for those that use me as a reference for size - this one is cut generously. I have it clipped a bit in the back in this shot. It would be an easy later to fit it down a bit if needed.

Bust: to 21" flat across from side seam to side seam
Waist: to 20.5" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 33" from top of shoulder to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3157

Reference photos: (1) Christopher Kane S/S 2016 Runway, Look 35, Model: Nina Marker / (2) Veronika Heilbrunner in Christopher Kane. Photo by Sandra Semburg / (3) Chriselle Lim in Christopher Kane. Photo by Karen Rosalie / (4) Cherie, Owner of Shrimpton Couture, by Erin Leydon

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

After much research I have narrowed this down to being a version of the dress that walked the 1998 Haute Couture Runway. It is very similar and you could easily see how a client could have modified that dress to become the one that we see here. It is not unusual for a client to have a dress completely customized to her in that world afterall. The cut and feel are so alike and everything else about the dress feels like Mr. Valentino's work during this time period. It is absolutely exquisite and the cut and fit are the sheer perfection that you would expect from a gown made to this degree.

This may be the perfect black dress. It mixes Valentino's unwavering sense of elegance with the high standards of Haute Couture. The dress is strapless with a fitted and sculpted bodice that wraps the wearer in wide flat pleats that are curved, placed and set by hand. The bodice is a masterpiece in shaping and couture techniques. The fabric has been shaped and molded by hand and immaculately stitched into place to create the soft pleats that curve over the bust and highlight your shape. Inside it is boned and shaped with an inner corset. The corset holds the dress perfectly in place but not to the point where it feels constrictive, just enough so that it shapes you perfectly. The pleats cross over the bust and wrap around the back. There they are sculpted into place and they fall to become a part of the skirt, overlapping the panel that comes from the front. This same technique is used at the front, but there the panel that extends into the skirt does not wrap over the other panel but is set more open to show the inner skirt off to its full advantage. The inner skirt is slim cut and falls to the floor. It is made of a silk netting, backed by silk chiffon, and the netting is completely covered with the finest bead and sequin work that I have seen. This is certainly the workmanship of Lesage and would have been made completely by hand  - worked that would have taken hours and hours and hours. What is truly incredible is that the entire inner skirt is finished with this hand done bead and sequin work even though you only see a touch of it from the front. In the second last photo before the inner bodice photos I lifted the back outer panels to show you how the inner skirt is finished all the way around. That is the level of work that you see only in couture.  This is the type of gown that Valentino excelled at. A refined elegance mixed with a luxurious fabric and finished with a master's touch of provocativeness and romance. The dress appears to have never been worn, or worn very little. Excellent condition

The inner skirt is fully backed in a silk chiffon. The outer panels of the skirt are unlined. The inner bodice has a full couture level netted corset and this is boned and cupped. The bead work extend all the way up to just under the bodice on the inside. There is a zipper to close the corset and it also has a hooked waist stay. Another zipper lies over this to close the outer layer. Completely finished by hand work throughout.

Bust: to 17.5" flat across from side seam to side seam
Inner waist: 14.25" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Bodice: 10" from top of bodice to inner waist seam
Skirt: 40" from inner waist seam to hem

Modern Sizing Equivalent: SML-MED

Item# DD3156

Reference Photo: Valentino Spring 1998 Haute Couture 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 dress is from the Spring 1996 collection as worn by Shalom Harlow for the runway show. It was actually the closing look of the show. Shalom also wore one for its appearance in Vogue Magazine. If that provenance was not enough, I lent this exact dress to stylist Penney Lovell who fitted it for Emily Deschanel's appearance at the 91st Academy Awards this year. Emily walked the red carpet in the dress. It is am amazing piece of fashion history and the dress is stunning.

The dress is a beautiful example of Ferre's work during his time as Creative Director for Dior. It was the highlight of the show for that season and was chosen to close the presentation. The dress is fitted through the bodice with a neckline that curves down in a slight scoop. This version as little straps that the dress is suspended from but if you prefer the strapless look of the runway you could easily tuck them in or remove them as the neckline is cut the same as the runway dress. There is now waist seam to break the line of the dress. All of the foundation work to hold the dress in place is done and hidden inside. On the exterior the dress curves down front he neckline in an unbroken line, curving in at the waist and then curving out and over the hips. Pockets sit on each hip and each is still tacked shut. The skirts flare out dramatically with a bit of a Spanish Flamenco feel and there is an elaborate set of built in underskirts to help achieve the flare and volume you see. These are made with a netted silk with lace finished edges and there are layers of the ruffles attached at the end of the inner hems. The skirt is cut shorter at the front and then flares out dramatically at the back. Emily is quite tall so on her the skirts lifted off of the ground but in a girl who is not quite as tall you would get a more trained effect. Note that the back of the dress curves around with a slight drop. On the shot of Emily from the back you can see that it is finished with a more V cut, this was a temp alter where the back was folded over and tacked as it suited Emily better that way. It was un-tacked and re-cleaned since the Oscar's and there is no evidence that it was ever down any longer other then the photo. Excellent condition 

Bust: 15.5-16" flat across from side seam to side seam
Inner waist: 12.75" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 50" from top of bodice to front hem, 60" to the longest point of the back hem

Modern Sizing Equivalent: XS-SML

Item# DD3155

Reference Photos: (1-4) Emily Deschanel at the 91st Academy Awards, Styled by Penny Lovell / (5) Shalom Harlow for Vogue, 1996 / (6) Dior SS 1996 Runway (7) Christian Dior Runway video, The Fashion Channel

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

Bill Blass launched his label in 1970 when he bought out the Maurice Rentner label and re-launched it under his own name. He was arguably one of the most famous of all the American designers. His forte was the ability to mix simple styles with luxurious materials and his evening wear in particular seem to have a way of flattering the wearer even at their most extravagant.

A sketched pink version of this dress was used in the 1985 ad campaign and this version looks identical to that one except for the color. The dress is made from hand dyed silk in a deep yellow that is mixed with an off-white silk inset on the bodice and has a white dot print throughout. The cut is simple and elegant. A boned and strapless bodice tops a full, flowing silk skirt that falls to the floor. The bodice is a mix of solid white and the patterned yellow silk. The fabric is gathered and wrapped around the bust and the yellow and white contrast each other to highlight and shape the body. The skirt is set into the nipped in waist with soft gathers that give it both a romantic feel and allow the fabric to have volume and movement. A huge matching sash wraps around the waist and you can tie it where it is most flattering. I have tied it in a large bow that sits slightly off to the side here. The fabric is a light silk organza that holds the shape and volume magnificently and gives the dress its light and airy feel. I love the print on the yellow portions - it is a mix of a dot and an abstract wavy line that really ties everything together. Excellent condition with one minor note below

Fully lined in a white silk and closes with an offset, painted metal and nylon zipper that is set where the two fabrics meet at the back. Light boning through the bodice. Hand finished. Snaps has been added to keep the sash in place at the back but they were poorly added and not original. They were removed and there is the tiniest evidence of them on the fabric along the back opening. Please review the photo after the label shot and before the reference photo.

Bust: 16" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: open
Bodice: 10" from top of dress to waist
Skirt: 40" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2596

Reference Photo: Illustration by Bill Blass, Vogue, April 1985.

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 Balenciaga label launched in 1937, closed briefly from 1940 -1945 and then reopened until Cristobal's retirement in 1968. This gown was made in the Paris atelier for the 1962 season. The only other version of it is held in the Balenciaga archives. A photo of the back of this same dress can be found in the book 'Balenciga and Spain', making this dress very well documented. This is true Haute Couture from when Balenciaga himself was a member of  the Chambre de commerce et d'industrie de Paris and designing for his label. Pieces made during this brief period under Cristobal are very rare and this is an especially fine example. The legacy of influential Spanish couturier Cristóbal Balenciaga, continues to today. He is often reffered to as 'The Master of Couture' and rightly so. The recent V&A exhibit 'Balenciaga: Shaping Fashion' 'examined the work and legacy of influential Spanish couturier Cristóbal Balenciaga, with over 100 pieces crafted by ‘the master’ of couture, his protégées and contemporary fashion designers working in the same innovative tradition.'. I feel that this gown could have easily been included in that exhibit and is of museum quality.

The construction of the dress is highly sculptural in nature and a beautiful example of Cristóbal's work. The silk has a satin finish and the heavier weight of this fabric choice allows for the precise, sculptural lines that you see. The sleeves sit just off the shoulder curving away from the neckline in an elegant line. At the front the neckline curves upwards to bring the eye to the face. At the back it curves down to draw the eye to the long trailing bow that runs down the back. The bodice is fitted with a boned and cupped corset inside. This shapes the wearer and cinches in the waist. The hips curve outwards and the skirt falls to the floor in a perfect line that gradually widens out as it nears the hem. The back is magnificent with a a flat half bow at the center back that covers the fastenings. This trails down to the hem and the the skirt dips down slightly with extra pleating for fullness.

Inside the dress is a highly structured foundation garment. The interior corseting has all the things one looks for in couture of this time period. It is boned by hand with steel boning. It is a full inner corset with a complicated construction of elasticized fabric combined with built in cups that are covered in a silk net. This interior corset closes with a series of lingerie hooks and there is even an added a panel of soft silk velvet that is placed under the hooks and against your skin so you do not feel the hooks at all. The dress zips up over this and despite all of this interior work all you see on the exterior is that beautiful sculpted shape with not a single bump or creases to give away the construction underneath. Examples of his work are held in museums world wide and a gown in this condition and color is a rare find indeed. It is in very good condition but does have some small flaws. Please review the description notes below

Unlined with a full built in interior corset and a half skirt that helps to create some volume at the back. It is completely made by hand as the parameters of Haute Couture dictates. It closes with a handset back fine painted metal zipper and the interior corset closes with a series of lingerie hooks. Handset snaps close the lower skirt over the zipper and secure the bow into place. The Haute Couture label and numbered tag underneath are present. There are some faint marks in the fabric around the waistline and some slight fold lines in the fabric here and there from storage. Some rust marks are seen on the interior corset and some torn seams and marks on the interior top bodice and just at the very edge of the seam on the exterior. I have photoed all of the areas. Please review the photos after the label and tape number shot and before the reference photo. None compromise the integrity if the piece. It appears the inner hem was redone at a later date as the thread does not match anything else and looks like it was not done by hand. It was photoed on a size 2 dressmakers form and just fit so best for a size 0-2.

Due to the rarity and nature of this gown it is sold as a final sale.

Bust: 15" flat across from side seam to side seam
Waist: 11.5" flat across from side seam to side seam
Hips: open
Length: 54" from shoulder to front hem, 56" to back hem

Modern Sizing Equivalent: XXS-XS

Item# DD2881

Reference Photos: (1) From the book 'Balenciaga & Spain'.  /  (2) From the Cristobal Balenciaga Museoa.

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

For the Resort collection of 2013, Angela Missoni said that she 'looked at Chinese porcelain and British pottery, for its delicate brushstroke motifs, picked out in embroidery on knits, and the somewhat less delicate intarsias that looked like smashed fragments pieced back together.' The result of that were beautiful pieces like this dress that re-imagined the classic Missoni look in a new unexpected way.

This was Look 26 in the presentation and sold out worldwide once it landed in the shops. It is a figure skimming halter dress in a fine knit that showcases a variation of the Missoni signature zigzag. Here it is refined and made more delicate. The different way that the design has been manipulated before it is applied to the knit gives it that wonderful design that creates the pattern from shoulder to hem. The entire dress is then covered in clear sequins. The sequins are done in two sizes - a small sequin and a very tiny version. This changing of the sequin sizes creates its own secondary pattern over the knit base and the effect is wonderful. The entire dress shimmers as it catches the light. The knit base is backed in a fine silk chiffon that allows the dress to drape over the body and molds to hugs your curves but in a relaxed and easy way that makes it even sexier. It looks to have never been worn and is cut supermodel long. I love it. Excellent condition

Fully lined in a white silk chiffon and slips on to wear with no closures. Tagged a modern 42. The fabric does have some stretch and the measurements provided are the comfortable range when laying flat. It appears to have never been worn.

Bust: 15-18" flat across from side seam to side seam
Waist: 14-16" flat across from side seam to side seam
Hips: 18-20" flat across from side seam to side seam
Length: 63" from top of shoulder to waist

Modern Sizing Equivalent: SML-MED

Item# DD3153

Reference Photo: Missoni Resort 2013, Look 26

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 black version of this dress walked the runway for the Fall 2001 Couture show and I have had a black one in the shop but never the ivory until now. Versions of this piece have been a constant throughout Alaia's history and similar gowns featured prominently both in the Alaia exhibit at the Groninger Museum and accompanying book 'Alaia- Azzedine Alaia in the 21st Century,'.

This long and sexy silhouette is perhaps one of the most iconic of all the Alaia designs and most certainly one that is instantly recognizable as being his work. It is a look that feels as fresh to wear now as it did when it was created. The dress is made from his signature stretch viscose jersey. This fabric molds to the body once on and is cut to hug every curve through the bodice and the waist. Under that it flows out into a very long, full length skirt that is made of yards and yards of fabric. The contrast of being fully covered and yet having your every curve show is signature part of his genius in covering the female form. The bodice of the dress is cut into a slightly higher neck and back and has low dipping sides. Raised seam work highlight the curves of the dress around the body and also create and emphasize the bust and waist. More seams curve around the backside and hug the body. The color is a creamy ivory. This dress would also make for a wonderful wedding dress for someone looking for something not as traditional. Excellent condition with one very minor note below

Unlined and closes with a hidden set side zipper. There are also hook and eye hidden at the top of one shoulder. The gown is bias cut so does come up in length a touch once on. It is tagged a vintage Alaia size Small and Alaia does run small. The knit will stretch a bit and allow for a bit of range size-wise. I have given the range laying flat and stretching out to its comfortable max - you might be able to squeeze a touch more if needed. There is a teeny bit of a very faint mark near the base of the zipper but it is extremely minor. Please see the photo provided after the label shot

Bust: will stretch to 16" flat across from side seam to side seam
Waist: 12-13.5" flat across from side seam to side seam
Hips: 14-18" flat across from side seam to side seam
Length: 67" from top of shoulder to front hem, 70" to back hem

Modern Sizing Equivalent: XS-SML

Item# DD3145

Reference Photo: (1) F/W 2001 Alaia Haute Couture Collection, Look 18.  /  (2) Alaia in his Paris Atelier with his long-time muse Naomi Campbell.  /  (3) Book: Alaia, Azzedine Alaia in the 22st Century, BAI publishers, Groninger Museum.

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 Fall 1952 Christian Dior Haute Couture dress is a beautiful and rare example of Christian's work from this time period. Christian wrote of the Fall 1952 collection, "In the Autumn, the silhouette took inspiration from modern techniques with the 'Profile Line'. This 'Ligne Profilee' was inspired by the shapes modern life surrounds us with" ... owing its shape to "natural curves refined and profiled with care"..."Molded to the body, their goal is first and foremost to thin down and lengthen". Vogue said in part in their review that, "The designing of seam is like a lesson in the construction of a beautiful building... His completely slim profile follows the curve of the ideal body". The New York Times noted "Dior calls the waistline 'unbroken'. It is never cinched. The cut is so perfect, the look so custom-made that description cannot do justice to the simplicity of high tight collars, smooth long sleeves and buttons down the center front". It is a becoming exceedingly rare to find such wonderful examples such as this and I am very pleased to have it in the shop.  A similar gown from this same collection that seems to be a simpler version of this one (and in a far less desirable condition then this one) is held in the permanent collection of the Metropolitan Museum.

The dress is constructed from an ivory silk that has a slight ribbing finish to it. The cut is simple and deceptive in how it makes the many Haute Couture finishes appear to be effortless in their execution. The top is cut straight across at both the front and back. It is molded to the body with wide straps in the same silk curving up and over each shoulder. Clear faceted buttons, that I believe are glass, are places at the outer edges of the top seam and then gently curve in towards the waist. This draws the eye inwards and gives the illusion of an even smaller waistline. The buttons continue on that inward line once they  past the waist seam. On either side of the buttons are simple little slit pockets whose inner construction in quite intricate, These follow the curve of the hip and help add volume there without adding bulk. The skirt billows out to a beautiful fullness and the shape is built in through layers and layers of silk netting and tulle underneath. For the majority of the photos I have added another separate crinoline so that you can really see the volume that can be achieved through the skirt. The last two full photos of the dress before the label shot is of the dress with only its built in skirts. The inner construction of the dress is absolutely exquisite with a boned and silk net corseted interior. Attached to the inner silk skirt there are various layers of silk tulle attached at different lengths. A scattering of beads and crystal rhinestones on the front of the skirt offer the final finishing touch.

It is a beautiful example of Christian Dior's early work and a wonderful example of the golden years of Haute Couture. The dress is not perfect and I have gone through the condition below so please review those notes carefully and review all of the provided photogrpahs. I also took an extensive set of videos when I steamed out the inner parts of the dress and these show the inner construction wonderfully and in detail. I did this through my Instagram stories and saved the series as a tagged highlight "Dior Steaming" that can be access on my bio page there.

The majority of its issues are simple grubbiness. My cleaners felt that the inner parts of the dress would have to be removed and then re-attached in order to clean it properly and the decision was made to leave it in as found condition and leave the original stitches. They did feel that it would clean beautifully so if it is purchased to be worn or perhaps as a wedding dress, it is 100% cleanable and perhaps there is another cleaner out there that may have a different solution. That will be the decision of the new owner regardless.

Fully lined with built in interior silk skirts that have attached tulle layers. There is a built in netted corset that is boned. The interior corset closes with a series of hook & eye. The dress zips to close over that. The dress has general grubbiness over its entire surface with most around the commonly touched by skin areas - around the pockets, the upper bodice and the hem of the skirt. There is a bit of yellowing under one packet and one a couple areas of the skirt. I do not see signs of any major alterations though I suspect that the hem was let down at some point in its history. There are tiny little rust pinpoint marks here and there. The interior tulle edges are left raw. There are some scattered holes in the tulle of the skirt and a couple in the netting of the inner corset but nothing that compromises its stability. It is mainly just grubby. Note that the color has perhaps a touch more cream to it then how it photoed.

Note that because of the rarity and value of the dress it is offered as a final sale to lessen the possibility of multiple shipping trips. Please buy accordingly and ask all questions before purchasing

Bust: 16" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 16" from top of shoulder to waist
Skirt: 43" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3144

Reference photos: (1) The Metropolitan Museum of Art. Quotes in first paragraph from the book Dior Catwalk

This garment is in as found condition. Please review all condition notes, descriptions and photos provided.

From the Spring 2007 Chloe runway is this wonderful little jacket that can be worn as a suit jacket or even a light outdoor jacket if layered over other pieces. It is made out of a muted dusty aubergine colored linen that has a wonderful texture. Lara Stine wore a version on the runway open and layered but I love it just as much properly buttoned and closed. When buttoned you really get the baby doll feel of it. The collar is small and rounded and detailed with tightly spaced rows of top stitching that follow the curved line of the collar. This same detail is picked up on each flap of the pockets. The sleeves are cut straight and cropped and the body of the jacket swings out in a full cut from the shoulders. I love the over-sized buttons and each appears to be a highly polished wood set in a silver toned base. It appears to have been worn very little. Excellent condition

Fully lined in a similar colored cotton and closes at the front with the buttons as shown. Tagged a 40. Each pocket it still tacked shut across the top opening. The pockets also have access from the sides

Sleeves: 17"
Shoulders: 14.5"
Bust: to 19" flat across from side seam to side seam and it widens out to approx 26" flat across by the time it reaches the hem
Length: 27" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# S839

Reference photo: Chloé Spring 2007 Ready-to-Wear Fashion Show, Look 13, Model: Lara Stone

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 killer jacket with incredible lines from the Fall 2014 Isabel Marant runway. It was shown worn open in the show but it is even better closed and tied in my opinion. When worn closed you really get a sense of that incredible flaring at the hip and the tie belt gives it shape. The very bottom edge of the hip flare has an almost raw finish. The shoulders are rounded and high, with interior padding to hold that wonderful, rounded shape. Each sleeves ends in a wide flipped up cuff. It buttons at the front and the buttons are hidden under the front edges. The belt cinches the jacket's waist in. To huge front pockets are the perfect finish and each has an opening from both the top of the pocket and also from their outer sides so you can tuck your hands in if you wish. It appears to have never been worn, or worn very little. Excellent condition

Unlined and closes with the buttons down the front, Has its original tie belt. Extra button present and looks unworn. Padded shoulders. Tagged a modern 36 but cut generously

Sleeves: approx 26" but you can adjust the cuffs
Shoulders: approx 15"
Bust-lower seam above hips: to 18" flat across from side seam to side seam
Length: to 26" from neck to longest point of the front hem, 24" to back hem

Modern Sizing Equivalent: SML-MED

Item# S838

Reference photo: Isabel Marant Fall 2014 Ready-to-Wear Fashion Show, Look 10, Model: Magdalena Frackowiak

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