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

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

It closes with a hidden set, side zipper and the fabric has stretch. Fully lined in a black stretch jersey as described above. Hand set sequins and wide ribbon, hand set inner hem. There is the occasional sequin missing but there are sequins in the inner seams that could be used if this bothered you. It is so densely covered that its somewhat irrelevant. Some of the sequins show a little patina on their finish. The one shoulder above the dipped side felt slightly stretch on me, though I think that on a taller girl it would be fine. It would be an easy adjustment if needed at all. The stretch of the fabric should allow it to fit a range of sizes and the measurements below are the comfortable range when lying flat.

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

Modern Sizing Equivalent: SML-LRG

Item# DD3243

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

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

For the April issue of Vogue in 1973, Lauren Hutton was photographed in a similar jersey dress by Bill Blass. The one that she wore was done in a black rather then the red that this one is. By 1973, Blass was only three years into running his own company after buying Maurice Rentner Ltd in 1970 and re-labelling it under his own name, making this a wonderful example of his earlier work

The choice of a silk jersey gives the dress a wonderful drape. It also keeps it remarkably light in weight so it is very comfortable to wear once it is on the body. There is a definitive Grecian feel to it created by the addition of that long piped tie. The ties are made from the same fabric as the dress and are meant to be wrapped around the upper body and waist. They are long enough that you could extend that down and over the hips if you wished. The neckline is high and the bodice is seamed horizontally so that you don't get any bunching of the fabric when you tie the ties over it. The waist is defined by a seam and the skirt flows to the floor in a cascade of jersey. I love the sleeves in particular. Each is cut extra long and with a tremendous fullness at the cuff. This gives them a bit of an Old Hollywood feel. It will fully zip up at the back - it is just a little small on my dress form. Excellent condition overall with one small note to review below.

Unlined and closes with a back set zipper. The waist stay inside the waist closes with hook & eye. Elastic at the end of each cuff. The ties can be tied as you wish. There is a faint watermark at the hem and it has photoed darker then it is in real life. Once on this does not detract at all. Hand finished, rolled edges. The red has a slightly more blue undertone in person. The fabric has stretch but the waist measurement is firm

Sleeves: 28"
Shoulders: 15"
Bust: 16-18" flat across from side seam to side seam
Waist:  to 12.5" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Bodice: 16" from top of bodice to waist
Skirt: 41" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2991

Reference Photo: Lauren Hutton in Bill Blass. Photo by Richard Avedon. 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.

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3242

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

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

This is such a pretty and romantic piece by Rosie Assoulin. It is from the Resort 2018 collection and was look 32 in the presentation. The original price on this was was just under 3k. This one has never been worn and still has its original sales tags. It would make a love garden party dress or even a wedding dress for a bride who does not want to go the traditional route.

The dress has an asymmetrical feel and is cut to spiral down and around the body. It shows Rosie's quirky sense of design that still manages to be refined and elegant. There is a reason why the top stylists in the world source from Rosie's work on a regular basis for their clients red carpet appearances. The bright flowers that cover the entire dress were inspired by bodega flowers—specifically, the paper wrappers that come with the blooms. Hence the 'Say it with flowers' slogan found at so many New York bodegas and now printed onto the dress. I love that it is printed in several ways. It runs over the straps that curve around the shoulders and throughout the base satin finish fabric. More flowers and that same slogan are printed across the silk chiffon panels that flutter over one shoulder and then down and around the body to the hem. The flowers that you see are a combination of direct printing onto the fabric and velvet flocked parts to give a touch of texture and an extra tactile sense. It is an easy to wear dress and makes the prettiest statement. I love it. Excellent condition

Fully self-lined in white through the entire dress. It closes with a hidden set zipper. Light boning on the sides of the bodice. Pockets hidden along the side seams. The shoulder straps seemed to be cut a little long on  my dress form but they could easily be adjusted if you found that on you as well. Original price/hang tag attached and it has not been worn. Tagged a modern US10

Bust: 18.5" flat across from side seam to side seam
Seam under bust: 16" flat across from side seam to side seam
Natural waist: 18" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Bodice: 13.5" from top of shoulder to seam under the bust
Skirt: 46" from seam under the bust to longest point of the hem

Modern Sizing Equivalent: MED-LRG

Item# DD3428

Reference Photo: Resort 2018 Rosie Assoulin Collection, Look 32.

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 amazing and rare Donald Brooks Boutique set has the added provenance of its twin being photoed on Marisa Berenson for the May 1970 issue of Vogue. From my understanding the Boutique label was launched in 1971 and I wonder if this was an early forerunner for that label and perhaps Vogue was given the inside scoop on it. Or perhaps Brooks did some pieces for his soon-to-launch label on a small scale that year before launching the full label for the more general public. Either way it is an exceptional set with a fabulous provenance.

These cropped pant and top sets are the absolute epitome of that early seventies flower power hippie movement. The pants have an extra wide legged cut and they have a slightly cropped feel to them depending on your height. The waist on them is elastic and this allows you to wear it either higher up or low slung on the hips. The top is cropped and it is cut to be fitted to the bust. Its short length shows off a taut, tanned stomach. The front buttons with little round buttons and silk loops. Four at the bottom and one at the top with a slit opening below. There is also a little tie above the top button. The sleeves are cut wide and full above the buttoned cuffs.  I love the edging of bright flowers that adorn the waistline and hem of the skirt as well as run around the bottom, top and sides of that sexy little top. The fabric is a beautiful silk twill and I love the contrasting pattern between the top and pants. The pants are finished on a abstract stripe and the top is done in a floral and geometric feeling print. The combination of the bright turquoise, white, purple and pink is killer. Excellent condition

Both the top and skirt are lined in a bright matching turquoise silk. The top closes with a series of buttons at the front and the pants have elastic at the waist

Top
Sleeves: 24"
Shoulders: no defined seam
Bust: 18" flat across from side seam to side seam
Under bust at seam: 14" flat across from side seam to side seam
Length: 12" from shoulder to hem

Pants
Elastic waist: will stretch from 11"-18" flat across from side seam to side seam
Hips: to 25" flat across from side seam to side seam
Length: 37.5" from waist to hem with 3.5" turned under the hem
Inseam: 23.5"

Modern Sizing Equivalent: SML-MED

Item# DD3421

Reference Photo: Marisa Berenson, in Donald Brooks, by Irving Penn for Vogue, May 1970.

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

I actually already own the twin of this dress and I love it. It is a gorgeous dress to wear in the warmer months. It is well made and has beautiful lines. When it came out it was sold out everywhere after it as featured in the ad campaign and being seen on the runway. Style icon Erica Pelosini had one as well and you can see just how gorgeous the dress is on an actual body in the several reference photos attached.

The dress has a simple design that has a bit of a vintage feel that I love. It is strapless and the top portion of the dress is very fitted to the body. This is achieved by seaming that curves to fit the bust and by light boning that runs down each side. The skirt is set in at the waist with a series of soft gathers that go all the way around the waist. This gives it some fullness and makes the waist look tiny. It billows out from there with quite a bit of volume, widening out as it nears the  hem. At the bottom of the skirt is a wide panel of the same fabric that is also attached with soft gathers so that you get an incredible amount of volume  and fullness. This perfectly balances out the more bare top and creates a beautiful silhouette. The fabric is a crisp, high end  cotton that almost has a starched feel to it. Excellent condition

The top is lined in the same fabric and the skirt is unlined. Closes with a hidden set side belt. Has inner bust and waist stays to help support and keep the dress. This one did not have the sash shown on the reference photos and priced accordingly. Was just under 3k new. Appears to have been worn very little if at all. Tagged modern 42

Bust: 17.5-18" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: open
Bodice: 10" from top of bodice to waist
Skirt: 42" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3420

Reference Photos: (1) S/S 2016 Salvatore Ferragamo, Look 36, Model: Julia Nobis.  /  (2) Maartje Verhoef for Salvatore Ferragamo Ad Campaign, S/S 2016.  /  (3) Backstage at S/S 2016 Salvatore Ferragamo Runway Show.  /   (4) Erica Pelosini in Ferragamo, Spring 2016, from her Instagram.

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

Loris Azzaro founded his label in 1967 and quickly was dressing women like Raquel Welch, Brigette Bardot, Tina Turner, Liza Minnelli, Sophia Loren, Marisa Berenson and many, many more. Tina Turner in particular was a huge Loris Azzaro fan and ordered a ton of pieces from his atelier that she then wore onstage for numerous appearances. She made this particular style of top an instant iconic piece.

There are several variations that Azzaro did of this piece. Some slip over the head and others, like this one, snap to close down the front much like a cardigan/sweater style. This top has the extra bit of rarity in that it is done in a combination of purple and silver. I have not seen another one of these in purple before and I love it. It is made out of a combination of a purple and silver lame that has been crocheted. The knit portions make up the body of the top and then circle each elbow and wrist. The arms between the knit parts are made up of silver and purple aluminum chain link so you get that wonderful open feel. More chains loop all around the cuffs and then finish the hem with a fringe of chains. The use of aluminum was cutting edge at the time and it keeps the top amazingly light in weight. It also allows the chain and fringe to have amazing movement when you move. Made by hand and looks like it has been worn very little if at all. Excellent condition

Unlined and closes at the front with hidden set snaps. The knit has some give. The measurements below are the comfortable range of the give when the top is lying flat.

Sleeves: 25"
Shoulders: 14"
Bust: 14-16" flat across from side seam to side seam
Waist: 14-16" flat across from side seam to side seam
Length: 19" from shoulder to bottom of fringe

Modern Sizing Equivalent: XS-SML

Item# S902

Reference Photos: Tina Turner in Loris Azzaro, 1971. (Two separate performances)

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

Pauline Trigere launched her label in 1942. She had moved to the US from Paris in 1937 and her designs always have that bit of a French feel to them. By 1949 she had been awarded a Coty and won one again in both 1951 and 1959. The 1959 win coincided with being inducted into the Coty Fashion Hall of Fame. She as a pioneer in the use of cottons and wool for evening. In 1961 she made headlines for being the first major fashion house to use amply an African American model. The twin of this 1971 piece is held in the Met Museums permanent archives. There is is referred to as being a dress but you would easily wear this as a coat as well

The dress, or coat, depending on how you decide to wear it, is made out a black knit jersey that is then edged in a sweeping panel of back dyed fox fur. It is very reminiscent of pieces that you would have seen being produced in the 1920s. It draws heavily on that silhouette but without feeling like a copy with the use of the modern jersey for the fabric choice. The sleeves are cut long so that you can wear them down over the wrist or push them up. The body of the coat is slim cut but not overtly fitted. It wraps and buttons to close and has that famous cocoon shape of the roaring twenties. The fur panel is wide and follows the curves of the piece as it wraps around the back, down the front and curves around the hem. It is cut so very simply but yet is so very dramatic one on an actual body. It is a wonderful example of her work and the time period. The fact that the Met Museum holds the exact twin of it should give you an idea of just how collectible it is. It really is one of the best cut pieces I have ever had in the shop. Excellent condition.

Fully lined in a second layer of the same fabric. Beautifully finished inside. It closes with buttons that follow the curve you see at the front. Each sleeve has a zipper at its cuff. It appears to have been worn very little if at all. Beautifully made. The jersey does have some stretch. The easy cut should allow it to fit a range of sizes

Sleeves: 24"
Shoulders: 15.5"
Bust: to 20" flat across from side seam to side seam
Waist: to 21" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Length: 58" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD3412

Reference Photo: (1) 1971 Trigere Evening Dress/coat from The MET Online Collection.  /  (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.

I have a small collection of historically important, key designer labelled vintage furs and fur 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. Fur coats are final sale.

This is one of those instantly recognizable dresses from the time period when Karl Lagerfeld was the designer for the Chloe label. The twin of this dress was photoed by Tony Kent for the March issue of Vogue Paris on Sylvie Vartan and that same shot was also featured in the 60th anniversary exhibit ‘Chloe: Attitudes’ in 2012. It is also an important collection in that 1974 marked the year when Mr. Lagerfeld took over exclusively as designer. Examples of Karl's work during this time period are held in museums around the world and are rare finds. Their place in fashion history is even more entrenched with his recent passing.

This dress is wonderful. In person it is even better then how it photoed, if that is possible. The skirt really has tremendous movement that is not conveyed in a still photograph. It is actually two separate pieces. A slim cut inner dress and a skirt overlay. The cut of the inner dress is kept simple. The dress is made out of a fine black silk crepe. The bodice is a cut straight across and the dress is suspended from tiny straps that curve up and around each shoulder. The waist is seamed and fitted and the skirt falls to the floor. It skims over the hips and flares out as it reached the hem. Over this is a silk organza over-skirt that has yards and yards of fabric in it. This makes it very full and when you move it is wonderful. You get an idea of the fullness that it has in the reference photo. Onto the silk of the bodice and completely covering the over skirt are hand applied silver sequins and glass tube beads. These are set in little abstract geometric designs around the top of the bodice and all the way around all of that fabric of the skirt. More sequins are scattered between and when the pieces are worn together the effect is fabulous. The inside is all finished by hand and to couture standards.  I love it so much and it is pure magic once on an actual body. Excellent overall condition with a note to review below

The dress fabric is self backed in sating and the bodice is additionally lined in a black silk. It closes with a side set fine painted metal zipper. Hand finished interior to couture standards and all hand work for the beads and sequins that is clearly seen on the back of the fabric. There are some small holes along the waistband of the inner dress. These are covered completely when the skirt is in place. I suspect they are from the hook snagging on the fabric when it was worn over the years. Perhaps the occasional sequin missing. 

Dress
Bust: 16" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: 17" from neck to waist
Skirt: 42" from waist to hem

Overskirt
Waist: 12" flat across from side seam to side seam
Hips: open
Length: 45" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3409

Reference Photo: Sylvie Vartan in Chloe by Tony Kent, Vogue Paris, March, 1974

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 extraordinary dress by Marc Bohan for Dior is very well documented. A version walked the catwalk that season worn by none other than Ines de la Fressange and it was also photoed for the August issue of L'Officiel.

The dress is made from a pale silver grey silk taffeta. This fabric choice allows it to keep its bold silhouette and hold the shape that you see on my photos and the reference photos. This is the kind of dress that you can see just how much of an influence this shape is still having on our current catwalks. I feel that I have seen all the elements of the dress re-done in one way or another over the last few seasons. The shoulders and sleeves are particularly wonderful. They are cut on a slight curve to follow the shape of the arm. Pleats are set all around the shoulder to give them the height and volume that you see. They then narrow down to the wrists. You can see the Victorian era influence on this dress but it still feels fresh and modern. The neckline is high and buttons at the back and the bodice skims over the bust to the waist. At the back there is an open slit that runs all the way from the buttons at the neck to the waist. This sexy little flash of skin is unexpected and I love the contrast this detail has with the high level of coverage the dress has everywhere else. The waist is seamed and the dress has its original wide matching sash in the same silk that you can tie and cinch in the waist even more. I have tied it at the back in the same large bow in the way it was shown in the editorial photo. The skirt skims over the hips to the floor. On either side of the waist a large ruffle starts to form and this curves over the hips and then towards the back where it creates a gorgeous trained effect. A small ruffle peeks out from under there and finishes the front hem. It is gorgeous and I love when a piece is this well documented. Excellent condition with a minor note below

Unlined and closes at the back with a zipper set at the waist and silk covered buttons and loops at the back of the neck. A silk covered button and loop at each wrist. The matching sash is original. Note that it was a little small on the mannequin in the waist area and the opening is not that wide at the lower back when it is on a girl that it fits properly. There are some watermarks on the hem. Please see the photo after the label shot and before the reference photos.

Sleeves: 27"
Shoulders: no true shoulder seams
Bust: to 17.5" flat across from side seam to side seam
Waist: 11.5" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: 15.5" from neck to waist
Skirt: 42" from waist to front hem, 46" to back hem

Modern Sizing Equivalent: XXS-XS

Item# DD3406

Reference Photos: (1) Ines de la Fressange for Dior /  (2) Model in Christian Dior, L'Officiel, August 1981. Photographed by J-F du Sel des Monts.

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 became the head designer at Maurice Rentner in 1959 and soon after that his name started to appear on the labels. In 1970 he bought out the Maurice Rentner label and re-launched it under his own name. These Bill Blass for Maurice Rentner pieces, are some of his earliest and you will find many of them, like the twin of this coat, in museum collections throughout the world. Blass 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. This piece has the additional bonus of being able to be worn as either a coat or a dress

This early Bill Blass coat is particularly gorgeous with its metallic gold and deep blue silk brocade fabric. The base of the coat is a deep blue silk. Onto this, in horizontal rows that run over the entire coat, is an incredible and intricate design that has been created out of gold lame and gold thread. The gold pops off the blue base and has a lovely way of catching the light. The coat has a bit of a military feel to it and I love how the pattern is laid out to highlight the high collar and cuffs. Flap pockets are placed on the front of the coat. One on each hip and then two more on each breast. They are perfectly set tot follow the pattern and each has a large bead covered dome button to secure its flap closure. The same big bead covered buttons run down the front giving the coat a neat and polished feel. The shoulders are structured but are not padded. There is a subtle fabric epaulette across the top of each shoulder. The sleeves are long and he took the time to make sure that the fabric lines up with the body of the coat. The fairly simple design of the coat allows that beautiful fabric to take center stage. An interesting thing about this one, it closes all the way to the bottom hem so could be worn as a dress as well. Excellent condition

Fully lined in a blue silk and closes with silk covered snaps hidden behind each hand beaded dome button down the front. All four pockets are functional. Hand finished throughout. It appears to have been worn very little if at all. 

Sleeves: 23"
Shoulders: 15"
Bust: 19" 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: 37" from neck to hem with 4" turned over under the hem

Modern Sizing Equivalent: SML-MED

Item# C542

Reference Photo: Samantha Jones in Bill Blass, photographed by Richard Avedon, Vogue October 1968.

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

A patterned version of this coat was photographed for The Daily Telegraph Magazine in September 1973 and featured Jean Shrimpton and Barbara Miller. I am very pleased to have an all black version of it for the shop as it is exceptional

The coat is wonderful. It has those fabulous Art Deco lines that Barbara Hulanicki favored. It is made out of a light black faux fur whose pile lays flat and has a textured feel to it. It is soft and supple and falls beautifully once one. The coat zips up the front to a high funnel neck. It is more fitted through the shoulders and then falls, swinging outwards with quite a good amount of fabric. The shoulders and sleeves are spectacular with that high capped cut Hulanicki became known for. From those wonderful shoulders each sleeve falls, gradually widening out as they near their cuffs. This is from the Big Biba store era. It is a wonderful piece of fashion history and very wearable and chic. Excellent condition 

Fully lined in black silk. It zippers to close at the front and has pockets on each side. Perhaps the lightest of matting to the inside collar (supersize label photo to see). A teeny bit of wear here and there along the edges of the cuffs. Really beautiful condition. Note that these fit high and tight across the shoulders so even though the cut is generous through the body I have added the size of the interior arm hole - its top will sit at the top of the shoulder almost. If that works it will fit a variety of sizes

Sleeves: 25"
Inset shoulders: exterior 13"
Interior arms holes: 14" around
Bust: to 20" flat across from side seam to side seam
Waist-hips: open
Length: 40" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# C467

Reference Photos: Jean Shrimpton and Barbara Miller (both in Biba) by Duffy, The Daily Telegraph Magazine, September 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.

Bill Blass became the head designer at Maurice Rentner in 1959 and soon after that his name started to appear on the labels. In 1970 he bought out the Maurice Rentner label and re-launched it under his own name. These Bill Blass for Maurice Rentner pieces, are some of his earliest and you will find many of them, like the twin of this coat, in museum collections throughout the world. Blass 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

This early Bill Blass coat is particularly gorgeous with its bead and silver threaded fabric. The base of the coat is a deep dark brown velvet that has a rich feel. The brown and silver combination gives it more interest then if it had been a more basic black. Onto the velvet is an incredible and intricate design that has been created out of hand placed and sewn silver thread. The thread pops off the velvet base and has a lovely way of catching the light. The collar, ends of each cuff, down the front of the coat and the hem are padded and piped and this helps the coat to maintain its design and shape. It also gives the coat a neat and polished finish. The shoulders are structured but without any padding. The sleeves are slightly cropped and each one is cut to widen out as they hear their padded ends. It closes down the front with a series of silk covered, hidden snaps so that when it is closes there are no buttons showing to break the lines of the coat. This simple design allows that beautiful fabric to take center stage. Panels of silver tube beads set in a 'braid' pattern follow alongside all of the padded, piped parts of the coat for the perfect final detailing. Excellent condition

Fully lined in a matching brown cotton and closes at the front with silk covered hand set hidden snaps. Pockets along the seam on each hip. Hand finished throughout. It appears to have been worn very little if at all. 

Sleeves: 20.5"
Shoulders: 14.5"
Bust: 17.5" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: 19.5" flat across from side seam to side seam
Length: 40" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# C541

Reference Photo: 1968 Bill Blass coat from the Indianapolis Museum of Art 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.

True Haute Couture pieces by Chanel are an extraordinary find as they are so very rare and hard to come by. This one, like several other of the Haute Couture pieces in the shop at the moment, are from one of my clients whose mother purchased the majority of her Couture pieces between 1973 to the mid and late seventies.

The dress is made of two layers. There is an inner silk dress that acts as the lining, and then an outer layer over that, made from a semi-transparent silk chiffon. The silk chiffon used on the outer layer is especially fine and it has a beautiful red floral design screened onto the black with a secondary print suggesting an exotic animal print. The straps of the inner dress are made of that same fabric as is the matching belt that cinches in the waist. When the two pieces are layered over each other the result is wonderful. The outer dress gives the dress a very light and airy feel that is very feminine. The dress is so well made that I could not decide which way it sat better. I decided to photograph it both ways. First with the buttons down the front and then with it turned around to have the buttons run down the back. The neckline is collarless and simply ties above the row of silk covered buttons that start a slit keyhole between them and the tie. The bodice is cut to sit looser over the inner slip and the sleeves are full, poufing up above their buttoned cuffs. The skirt is a masterpiece of soft pleat work all the way around the hips. Each individual pleat is done by hand and precisely spaced. These give the skirt it's flounced feel. The matching silk fabric belt hook and ties into place to cinch in the waist. As good as it is on the dress form, it will be even better on an actual body. It is entirely made by hand and has its Haute Couture tag and numbered tape behind the tag present on the interior dress. Excellent condition

The exterior dress is unlined and closes with a tie at the neck and silk covered buttons. It has an inner waist stay that hooks to close. The interior dress act as the lining and closes with a handset side painted metal zip. Matching original belt. Finished to Haute Couture standards. Haute Couture label present with interior tape number 54878. The dress appears to have been worn very little if at all.

Outer Dress
Sleeves: 24.5"
Shoulders: 14"
Bust: 17.5" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: open
Bodice: 16" from top of bodice to waist
Skirt: 28" from waist to hem

Inner Dress
Bust: 16" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 42" from top of shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD3010

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 emigrating to the US in 1933, Rudi Gernreich started working in theater as a costume designer. He worked under Gilbert Adrian for a few years and eventually started his own small independent label in 1948 while still working for various other labels through to the 1952. At this point he started to develop the basis of some of the knits he would become known for while working for  the JAX boutique and doing freelance for several department stores. In 1960, Gernreich finally launched his own company and in 1964 renamed it Rudi Gernreich Inc. He is best known for his own label's work and the work that he was doing for Harmon knits in the 1960s and 1970s. Pieces like this dress are now regraded as being highly collectible.

This dress is from the 1971 season and several variations of this print were done and documented that season. His fascination with this graphic check print seems to have consumed him full force during this time period. Here we see three variations of the check used to maximum effectiveness. The top portion of the dress is done in a small red and navy check. The sleeves are more red in feel with a slightly larger so;id blue check running vertically down them. This balances out the skirt which is cut to be more full. Here the checks are of the same size and are quite large. The original belt that comes with the dress has the same check as the top and it anchors the entire design. The bodice is cut to be fitted and the skirt is set so that is has volume. It is made of his signature light wool knit. It is very rare to see a piece that still has its belt so I am happy to have had that come with it. It is a magnificent statement dress and highly collectible. Excellent condition with some small notes below.

Unlined and closes with a painted back zipper. The belt is backed with leather. The fabric around the round buckle shows signs of separating from the backing but still presents well. I see two nicks out of the fabric that I have photoed. I had this cleaned and temperature treated and the fabric seems stable. Please review the photos after the label shot and before the reference photos. Tagged a vintage S.

Sleeves: 23"
Shoulders: 14.5"
Bust: 16-18" flat across from side seam to side seam
Waist: to 13" flat across from side seam to side seam
Hips: open
Bodice: 16" from neck to waist
Skirt: 31" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3402

Reference Photos: (1) 1971 Rudi Gernreich Dress from the Indianapolis Museum of Art Collection.  /  (2-3) Peggy Moffitt in Rudi Gernreich, Fall 1971. Photographed by William Claxton.

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

Pauline Trigere launched her label in 1942. She had moved to the US from Paris in 1937 and her designs always have that bit of a French feel to them. By 1949 she had been awarded a Coty and won one again in both 1951 and 1959. The 1959 win coincided with being inducted into the Coty Fashion Hall of Fame. She as a pioneer in the use of cottons and wool for evening, In 1961 she made headlines for being the first major fashion house to use amply an African American model. The 1972 collection used variations of the floral motif all through it and I believe that this dress us from the spring of that year.

That gorgeous tulip print that has been done in a brilliant green set against a inky black backdrop is the first thing you see. The fabric is a fine semi-sheer cotton voile  that feels like it has a touch of silk in it as well. The fabric choice holds that brilliant color beautifully. The touch of transparency to it combined with setting it over the inner black lining gives it a bit of added depth and really allows the green to pop. The top is has simple lines with an almost box cut through the body. There is the subtlest of gathers along the shoulders for a little bit of detailing. The sleeves are a single unlined layer of the fabric and have elastics at each wrist. This allows then to have a slight balloon effect once it is on. It snaps to close down the front with hidden set snaps and they begin at about the bust area. This then tucks into the skirt whose front is cut in a kind of modified sarong. The front knot that you see is built into the front of the skirt's design and this leaves an little cut out above and below the ties. The skirt then falls from there in one long and lean line. A very high slit runs up the center of the skirt. This is one of those pieces that may look like nothing special off the body or on the dress form but once it is on an actual body it comes to life. It is an unusual design and quite forward for its time period. Excellent condition with one note to review below

Both pieces are lined with a semi-sheer black silk voile except for the sleeves. The top closes with a series of hidden set snaps at the front and elastic in each wrist. The skirt zips to close with a flat hook and eye on the waist band. There is a little tag that says front on the waist band and I believe that it is meant to flip in when on but could easily be worn like a normal band if you moved the little front tag. There is the teeniest of pulls to the fabric above the first snap of the top. With the print and where it is it is negligible. Please see the last photo after the shot of the label 

Top
Sleeves: 25"
Shoulders: 14.5"
Bust-hips: 18" flat across from side seam to side seam
Length: 25" from neck to hem

Skirt
Waist: 13" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 44" from waist to hem
Slit: 25" from hem up

Modern Sizing Equivalent: XS-SML

Item# DD3397

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

Ferdinando Sarmi was an actual Italian Count and started his design career working for the Elizabeth Arden couture salon during the 1950s. In 1959 he ventured off on his own and launched his label. He designed for just over a decade before closing up shop. During those ten or so years he was known for his evening wear especially. The fabrics he chose were often opulent or very difficult to work with. This dress is very similar to the one photoed for Vogue in 1961, just with a different fabric design.

I love this dress. The volume through the skirt is expansive and the fabric choice is wonderful. Using the silk chiffon for the dress gives it a feeling of lightness and fantasy as it floats around you once on. You can get a sense of just how much movement it has in that wonderful photo for Vogue. The silk has a hint of transparency to it that gives it an interesting visual effect when the floral design falls over itself as the silk moves. The bodice is cut strapless and fitted and the silk there is gathered across the bust. The waist is accented with a large deep green silk bow at the front. From there the skirt gently widens to a beautiful fullness in a cascade of silk. It is very light and airy feeling when on but inside the construction is immaculate with a fully boned corseted foundation to keep it perfectly in place. I love the romantic feel of the floral print that covers the dress and the soft pastels are wonderful. Excellent overall condition with notes to review below

Fully lined in a pale yellow silk through the skirt and the bodice is finished in silk with an inner corset made of a cotton net. It closes with a back, hand set painted metal zipper. Hand finished. Fully boned inner bodice. Made to demi-couture standards. There is a watermark in some areas down the front and there are repairs and grubbiness to the hem in areas. Because of the amount of fabric through the skirt you would never notice these once on. Please review the photos after the label. Marked well below what it would be otherwise regardless

Dress
Bust: 16" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: 6.5" from top of bodice to waist
Skirt: 45" from waist to front hem, 40" to back

Modern Sizing Equivalent: XS-SML

Item# DD3394

Reference Photo: Model on left in Sarmi dress, model on right in Scaasi, Vogue, February 1961. Photo by Bert Stern.

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

Jean-Louis Scherrer was on of the great French couturiers in the grand Parisian style. He counted Sophia Loren and Jackie Kennedy as fans in his heyday and his work in the 1970s especially was wonderful. Opulence, hand beading and rich passementerie were his trademarks. He launched his own Haute Couture house after working at Christian Dior and stayed there until his dismissal in 1992. By that time period he had sold out all but 10% of his company. In 1977, the year that this gown was made, he was just reaching the top of his game as a couturier.

This dress, with its matching ruffled silk shawl, is tiny but perfect. I love the soft yellow silk organza that has been used for the skirt and the shawl. This choice of fabric allows it to have the volume that you see but without adding any weight at all. The skirt is cut to skim over the hips and that drops to that first extravagant ruffle. There are three ruffles in total that circle the skirt and each is wide and has yards of fabric in them. The skirt under the ruffles gradually widens as it reaches the hem. The movement and airiness the skirt creates in person is amazing. The shawl is made of the same silk as the skirt and is very long and finished with the same ruffled treatment we see on the skirt. It can be wrapped or just lightly held. Once this is removed that bodice of the dress is revealed and here is the true magic. It is strapless and fitted to the bust which balances against the volume of the skirt perfectly. Tiny sequins are hand placed to create that stunning floral design that you see. The edges of the green sequin leaves are done in the smallest glass tube beads. Little glass crystals edge other parts of the design and create a border across the top of the bodice. The workmanship is exquisite and the care and time to have created the design using only the finest, smallest of beads and sequins is astonishing. The entire dress is finished to Haute Couture standards and it is even more beautiful in person. Excellent condition with a small note to review below

Fully lined in the same silk organza that is used on the exterior. All of the work throughout is done by hand done to the edgings of the inner seams. It zips to close with a painted metal zipper and the exterior skirt snaps to close over the zipper. An inner waist stay hooks to close. The bodice is lightly boned. It will of course close all the way but was small on my dress form. I see one tiny dot of a mark just under the bodice seam and a tiny repair near the base of the back closure. Numbered tag 002576

Bust: 15" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: open
Bodice: 9" from top of bodice to waist
Skirt: 42" from waist to hem
Shawl: 9' long x just over 5' wide

Modern Sizing Equivalent: XXS-XS

Item# DD3393

Reference Photos: (1) 1976-1977 Fall-Winter Women's haute couture runway show.  /  (2) Jean Louis Scherrer with model, 1977.

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

Todd Oldham showed his first collection in 1981 and officially launched his label in 1989. In 1991 he won the Perry Ellis Award for New Fashion Talent. By 1992 when the twin of this suit was shown on the runway he was on fire and everyone who anyone was a fan. His shows were extravagant and full of the reigning supermodels. His clothes were loud and in-your-face, but also sophisticated and beautiful. This is a rare suit from the Spring of 1992 and it comes with a matching top that was also shown on the runway. Both fabrics were shown in the runway that seasons and a twin of the top is held in the Met Museums permanent archives.

The stripe and floral print were not shown together on the runway that season but they sure do make a dramatic statement when worn as a three pieces set. The skirt and jacket are made with a rainbow striped fabric that has a black base and then ribbons of color are sewn individually, one by one, onto the base. The skirt is a slim cut pencil and the jacket is cut broader through the shoulders and then narrows in at the waist. The tailoring is impeccable and that fabric would have all been made by hand. I love the huge custom enamel buttons that close the jacket. The top is a synthetic organza that has a huge, bright floral print covering its surface. The rainbow theme is carried over to there with the jeweled buttons that are each a different color. You can wear these together as shown for a dramatic feel, or break it up and stay more true to t e runway. Excellent condition 

The jacket and top both button to close and the skirt closes with a hidden set side zipper. The pockets on the jacket are shallow but functional and the sleeves button at each cuff. Both the jacket and skirt are lined in a black silky rayon and the top is unlined. All three pieces are labeled and none look to have been worn, or were worn very little. All are tagged a size LRG.

Jacket
Sleeves: 22.5"
Exaggerated shoulders: 18"
Bust: 18" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 22" from neck to hem

Skirt
Waist: 14" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 20" from waist to hem

Top
Sleeves: 23"
Slightly dropped shoulders: 16"
Bust: 21" flat across from side seam to side seam
Waist: 21" flat across from side seam to side seam
Hips: 22" flat across from side seam to side seam
Length: 25" from neck to hem

Modern Sizing Equivalent: MED-LRG

Item# S901

Reference Photos: (1-4) S/S 1992 Todd Oldham Runway.  /  (5) S/S 1992 Todd Oldham ensemble from The Met 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.

Jacques Tiffeau was one of the vanguard designers whose clothes were designed with a young, more affluent and fashion-conscious costumer in mind. He was a trained tailor who turned down a job at the Dior ateliers and instead launched his own ready-to-wear label, Tiffeau-Busch,  in 1958 in partnership with Beverly Pruzan Busch where pieces were also produced, like this one, that only bore his name. Plaid became a bit of a signature for him and Lauren Hutton wore a similar cut coat to this one in 1967 for Vogue.

This set has two pieces, the coat and its original skirt in a matching fabric. The skirt is tinier through the waist but the coat is cut with a more generous size. This means a girl who fits the coat can buy it to wear on its own and just have the skirt as a bonus piece. Both pieces are made out of a textured fabric that feel like perhaps a wool silk mix. This style was called the Cardigan coat by Vogue dues to its easy cut and collarless design. It sits more sleek and flat at the front and then the back has a yoke under the shoulders and the fabric then is gathered into that and falls with more volume at the back. Big glossy brown buttons close it at the front and the sleeves are finished with a flat piping that matches the treatment at the neck. The skirt is cut slim and to just above the knee. Excellent condition

The coat buttons to close down the front with additional silk covered snaps. The skirt zips to close with a painted metal zipper. Both pieces are lined in an ivory silk. Proper buttonholes. They look to have been worn very little if at all. The skirt is an XS due to the waist but the coat should fit a bit wider range. It is priced based on the coat alone.

Coat
Sleeves: 20"
Shoulders: 14"
Bust: to 19" flat across from side seam to side seam
Waist:-hips: open
Length: 38" from neck to hem

Skirt:
Waist: 12" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 22" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# C538

Reference Photo: Lauren Hutton in Jacques Tiffeau by Irving Penn, Vogue, February 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.