The label on this dress instantly gives us a date of between 1970-1974. 1970 was the year Janice Wainwright launched her own label and after 1974 her labels only carry her name, not the full ‘Janice Wainwright at Forty Seven Poland Street,’ that we see here. These four years are what has forever defined Janice and her work. She excelled at these embroidered pieces and the Art Deco & Nature inspired designs that she loved flourished and became one of her signatures.

This dress is a beauty and really a museum worthy piece. Her caftans and dresses by her during this time period and of this quality are harder and harder to find. As mentioned above, it has the added bonus of having the coveted, earliest Janice Wainwright at Forty Seven Poland Street label. Pieces with this label are from the beginning of her career and for me, really showcase her talent and are among the very best of her work. The base of the dress is a black chiffon. The bodice is what gives the dress its caftan feel even though technically it is more fitted then a typical caftan dress would be. The sleeves are cut wide for a kimono feel and her signature embroidery runs extensively down each of them and across the back of the dress. The front is cut very low with a loop and button holding it in place. The waist nips in and is highlighted with red embroidered piping. This same red line runs down the skirt, highlighting the sweeping lines as the skirt gently flares out as it reached the floor. It is beautiful. Excellent condition

Fully lined in a black silk rayon and closes with a back painted metal zipper. The front button on the plunging neckline is also functional.

Sleeves: 21" approx.
Shoulders: no defined seam
Bust: open
Waist: 13" flat across from side seam to side seam
Hips: 22" flat across from side seam to side seam
Bodice: 12" from neck to waist
Skirt: 46" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD2813

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 particular version of the Thea Porter label was only produced between October 1971-March 1972 and this gown was part of the 1971 collection. It is a beautiful example of her work and I am pleased to share that its twin was part of the 2015 Thea Porter exhibit at the London Museum of Textile and Fashion. Curator of that exhibit and Fashion Historian Laura McClaws Helms who is a contributor to my blog, also was kind enough to confirm that the print on this piece was by Janet Taylor. It would have been screen printed and then had some paint sprayed onto it by hand. Selfridges ran an ad campaign that same season and used another version of the dress as part of that giving it additional documentation. Note that the use of the "The Cream" was not the name of the dress, that appeared on all of the ads in the series that season regardless of the designer highlighted. I have also seen this dress refereed to as "The Cosmic" but according to Laura, who is perhaps the worlds foremost expert on Thea porter, the print did not have a particular name.

It is a beautiful example of her work with a printed cotton voile whose semi-sheerness is kept non-scandalous by white muslin lining underneath. The front dips down into a scoop and the bodice is fitted with a wide black panel that wraps around the chest area. The waistline sits high up under the bodice and the skirt flows down and out from there. Each sleeve is beautiful with a full, wide cut that flares out over the the wrists to make a wonderfully dramatic statement. The skirt also flares out to mid length in a wonderful swirl of fabric and pattern. The print is fabulous and this is instantly recognizable Thea. Museum quality condition with some small notes to review below

Fully lined in a white muslin and closes with a back painted metal zipper. There is some color run and marks on the interior lining of the skirt and I do see some color run from the purple here and there. These were notorious for this because of how the dying process was done so I do not consider this a true flaw. The pattern is so extensive that you only notice upon close inspection anyway. I photoed the worst area on one sleeve. There is a touch of "wrinkling" to the fabric under the arms that stayed out even after its initial cleaning. 

Sleeves: 22"
Shoulders: 13.5"
Bust: 17" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 13" from neck to waist
Skirt: 39" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD2812

Reference Photos: My own photo of the twin of the dress at the exhibit at the London Museum of Textile and Fashion; 1971 Selfridges ad campaign.

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

The label on this dress instantly gives us a date of between 1970-1974. 1970 was the year Janice Wainwright launched her own label and after 1974 her labels only carry her name, not the full ‘Janice Wainwright at Forty Seven Poland Street,’ that we see here. These four years are what has forever defined Janice and her work. She excelled at these embroidered pieces and the Art Deco inspiration she loved flourished and became one of her signatures.

This set is amazing and really a museum worthy set. Pieces by her of this quality are harder and harder to find. As mentioned above, it has the added bonus of having the coveted, earliest Janice Wainwright at Forty Seven Poland Street label. Pieces with this label are from the beginning of her career and for me, really showcase her talent and are among the very best of her work. It is two separate pieces and the base of both is a black chiffon. Both pieces simply slip on and are very easy to wear. The top "tabard" cut top is fabulous. It is cut into a wide T shaped on both the front and back. This allows the sleeves to be wide and have a kimono feel to them and the front drop over the skirt like an apron. It has elastic that runs through the waist and it ties at each side.  Her signature embroidery is done in sharp geometric angles that follow the cut of the tabard on both sides. The pink and green pop wonderfully against the black. Under this sits a skirt that is completely finished with Fortuny felling pleat finish. It is full length and the solid black of it serves as the perfect base for that spectacular top. Excellent condition

The top is fully lined with the same chiffon fabric as the exterior and slips over the head with elastic all through the wide waist band and ties at each side. The skirt is also lined and closes with a zipper and hook at the waistband.

Top
Length: 54.5" top to bottom
Width: 32.5" side to side

Skirt
Waist: 13.5" flat across from side seam to side seam
Hips: 21.5" flat across from side seam to side seam
Length: 44.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD2811

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

This is an absolutely incredible dress and once on the body it flows and drapes into place beautifully. It is from the 1970 collection and is documented in the "A To Biba" where a photo of a model wearing its twin was captured at the press launch party for the Biba make-up range on Kensington High Street in April of 1970. This is everything you look for in Biba dress, from the signature black moss crepe fabric that is so representative of this era, to the incredible flowing bias cut, to those amazing  Bishop cut sleeves. Those sleeves are the star of the show on this dress and they are incredible. This is classic Biba at its best and each billows out in a huge pouf of fabric above the elastic cuff. Above that they narrow to a slimmer fit over the upper arm which gives them balance and mimics the flared cut of the bodice and skirt. The front bodice is fitted and plunges quite low and it is gathered with seaming just under the bust. From there the black moss crepe is cut on the bias and flows from just under the bust to the floor in a beautiful sweeping column that widens as it nears the ground. The cut is supermodel long so it adds height to the girl wearing it. This is Biba at her best and even now feels incredibly relevant and modern. Excellent condition

Unlined and closes with a back painted metal zipper. Elastic at each cuff

Sleeves: 32" but pouf up and shorten once on
Shoulders: 14"
Bust: to 17" flat across from side seam to side seam
Under-bust: 14.5" flat across from side seam to side seam
Natural waist: 14.5" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Bodice: 12" from neck to under-bust
Skirt: 45" from under-bust to hem

Modern Sizing Equivalent: XS-SML

Item# DD1290

Reference photo credits: Image from the "A To Biba" book by Barbara Hulanicki, Blogger Anita Clarke of "I Want, I Got"

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

Similar Fortuny gowns are held in museums and private collections world-wide and they are becoming increasingly hard to find. A version in green is a part of the permanent collection at The Costume Institute of The Metropolitan Museum of Art (pictured). The description of that gown is so wonderful I thought I would share it with you here verbatim:

"Mariano Fortuny created a number of variations of his pleated silk gowns. In this model, he combined elements of the classical chiton and the peplos. A "tunic" is attached along its neckline to a long sleeveless underdress, suggesting the apoptygma of the classical peplos. This effect is further emphasized by the handkerchief points at either hip, which would have been seen on the sides of an authentic apoptygma. In the ancient Grecian peplos, the arm openings were positioned along the neckline edge rather than the sideseam edges. This resulted in a dipping hemline at either side of the garment when worn. Fortuny took this structural attribute and achieved the similar, purely decorative effect by cutting away at the tunic's front and back hem. Further, he interpreted the buttoned or pinned closings characteristic of a chiton's shoulder seams by connecting the topline seam of the tunic's sleeves with Venetian glass beads interlaced with silk "rat tail" cording. Fortuny was noted for his antiquarian intentions and scholarly treatment of classical dress, yet in the end, he invented rather than replicated a Hellenic style."

This beautiful version is a labeled Mariano Fortuny gown, circa 1907-1920. It is not perfect but still wearable and a wonderful example of his work. It's imperfections mean a huge difference in price. In hunting for a  comparable I found the very few examples out there to range from $10,500 - $16.500 and none were anywhere near this glorious color.

The dress is hand dyed to an deep raspberry, the pleated silk has a corded silk drawstring at the neck, short kimono style sleeves and an attached tunic with pointed side panels all of which are weighted with deep red, Venetian glass striped beads. The gown is in good condition. The silk is strong and wearable with no splits in the pleats. The pleats have softened throughout and this is the primary reason for the reduction in price. From a wearability point of view it has no effect and gives the gown a softer, more romantic, billowing feel. The beads that should lie along the arm to close it like the one you see from the Met are missing. You could tack the arm shut where a bead would be but I actually loved the open feel that gives it a modern look so chose to leave it as found. I see one spot that is lost in the folds and if held to the light perhaps a tiny pinhole or two but nothing alarming. Even the one from the MET seems to have the same softening of the pleats and I believe this occurs partly from age and partly as a result of the pleats being moved more in this area when worn. All the beads are present along the sides and bottom edge of the tunic. The color, style of sleeve and type of beads used place this in the very early years of Fortuny's career. It is signed along the tape at the seam.

It is 69" long from the mid neck at the back to the hem and the width will accommodate pretty much any size. The upper inside bodice is lined in a nude silk that is fully intact. Part of the seam was loose and I had it lightly tacked down along the edge.

Note that antique and twenties pieces are final sale. They will be packed exceedingly well and we only sell pieces that will stand up to the stress of shipping, however, having pieces potentially shipped multiple times through multiple customs and countries is too hard on garments that are historically important and deserve to be treated with love and care. Please purchase accordingly.

Modern Sizing Equivalent: OSFA

Item# DD2801

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

This beautiful dress was created by Ceil Chapman who is often referred to as Marilyn Monroe's favorite designer. It is so beautiful in person and the level of detail put into the construction is wonderful. The dress is constructed from a blue silk crepe that has a touch of stretch to it which allows the dress to move and mold itself the the wearer. The silk is then covered in swirls of blue glass tube beads mixed with iridescent blue sequins that trail over and on top of the beads. Once on, the dress seems to be sculpted onto the body. The skirt hugs the hips and is cut close to the leg with a back vent to allow you to walk. The waist nips in to create that sexy hourglass silhouette. The bodice has an inner boning and a front tulle detail to bring all the attention to the bust. The shoulders, upper back and arms are left exposed. The workmanship is exquisite and it is absolutely stunning and provocative. What I love most is that is is very close in design to the dress that was worn by Marilyn to performing for the U.S troops in Korea, February 1954 (click here to see more on our blog). Excellent condition.

Fully lined in matching blue silky rayon. Boned through the front and back and the interior has hand finishes. It closes with a painted metal side zipper. Note that the color has a slight purple undertone that does not quite come across in the photos. Museum quality

Bust: 19" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Bodice: 10" from top of bodice to waist
Length: 31" from waist to hem

Modern Sizing equivalent: SML-MED

Item# DD1163

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

Bias cut, silk chiffon layers give this beautiful dress a light as a feather feel. Stella McCartney makes exquisite evening pieces and I love this one from the pre-fall 2008 collection. Pre-fall and pre-spring collections are always produced in smaller numbers and that makes the pieces from them them more valuable as vintage for the future. This dress was also a favorite on the red carpet that season and was seen on both Scarlett Johansson and Poppy Montgomery. It is made of a soft bottle green silk chiffon that is cut on the bias with a second inner layer in a matching silk. The lightness of the fabric and its bias cut allows it to drape and flow beautifully. It feels more like a column when the wearer is standing still but once you move you get a wonderful fullness. The way it is cut is very couture in feel and it has a definitive Madame Gres, classic Greek feel to it. The entire dress suspends from the tie at the single shoulder and the final effect is very romantic and feminine. I love the pleating through the bodice that extends down into the waist and then softly opens into the skirt. Excellent condition.

The skirt is fully lined in a second layer of matching colored silk chiffon that is also bias cut. The bodice is lined a a matching silk. It closes with a hidden side zipper and ties at the top of the one shoulder. It is tagged a modern 40 but McCartney pieces fit small so you should know your sizing in this label or make sure to check the measurements below

Bust: 16" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: 19.5" flat across from side seam to side seam
Length: 62" from top of shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD2328

Runway reference photo credit: voguerunway.com 
Poppy Montgomery & Scarlett Johansson credit: coolspotters.com
Photoshoot Reference Photos: Photographed for creative purposes by Nikki Ormerod, Styling: Nadia Pizzimenti, Hair & Makeup: Ashley Readings, Model: Constance from Plutino Models.

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 near twin of this dress is held at The Metropolitan Museum which enables us to exactly date it. The difference between the one in The Met's collection and this one is that this one is opaque top to bottom so even though it would have originally been intended as lingerie piece you can easily wear it out as a dress now. The vast majority of John Kloss pieces that one finds are usually too thin or too sheer to wear as proper dress, but every once in a while you find a fabulous little exceptions like this one. John Kloss was a contemporary of Ossie Clark and I love how you can see that same British sense of sexiness in his pieces. This gown has a simple but sexy cut that really shows off the body once on. The halter cut bodice has an almost scandalous plunging front that goes right to the waist. At the point where the waist and the halter join is an elaborately beaded pair of swan set so they highlight the plunge and add a beautiful detail. At the back it is cut so you have an almost slight cowled effect and the entire back is left bare above that. From there it flows to the floor in a column of bias cut nylon jersey. A slit up the front shows miles of leg. Kloss was genius at choosing extremely high quality nylons that held the color well and would drape exactly as he wished. Excellent condition.

Unlined and slips on to wear and ties at the back neck. Tagged a vintage Kloss for Circa Small but please check measurements. The fabric does have some stretch so the size range is slightly more variable then usual.

Bust: variable with no true side seams
Waist: 14-16" flat across from side seam to side seam
Hips: 26" flat across from side seam to side seam
Length: 55.5" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# DD2785

Reference Photos: John Kloss, 1971. Both from the MET Collection. ( 1  /  2 )

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

If you are a regular you will recognize this dress. I have had it in the shop for a bit. The owner of this is motivated to sell and it is a brand new price now - about 1/2 of what it was previously. So if you have been eyeing it up now is the time. Personally I am astounded that it has not already flown out the door as it is exquisitely beautiful and one of the best pieces form him that I have ever seen. It feels as fresh and relevant now as when it was made in 2002.

The dress is exquisite and only 20 of these with this rose print were produced worldwide. It is from the "Dance of the Twisted Bull" Collection of 2002. Digitally produced roses flow across the fabric and get denser as they near the hem. The dress is constructed with two layers of the silk chiffon fabric layered over each other so that you get this fantastic sense of depth with the screened design showing through. Each sleeve flows down the arm and then ends in a tiered full cuff whose edges are left raw. The skirt has that same deconstructed treatment to its hem and is  made from layers of silk set over each other. It skims over the hips and then cascades into different lengths that float around you as you move. The neckline is beautiful and has ties that curve up and around the neck and can be tied several ways. The shoulders are left bare.  You can instantly see the Spanish influence that Alexander McQueen strove for in this piece. It is a even more beautiful in person. Excellent condition.

The McQueen site says of the  collection: Body-skimming jersey cutaway to mimic harnessing is paired with sharp, low-slung tailoring, crisp white shirts are layered with laced corsetry in traditional Savile Row fabrics. Jewel encrusted epaulettes, polka dots, ruffled, tiered skirts and more crafted out of what look like Spanish fans are all executed with the complexity of pattern and attention to detail the designer is known for.", and Style.com's review said: "The Dance of the Twisted Bull" was the title of Alexander McQueen's highly anticipated collection, his first since partnering with Gucci Group and deciding to show in Paris. McQueen pulled off a bravura, Latin-themed romp. One particularly theatrical dress came equipped with banderillas—the long spears with which bullfighters pique bulls—that seemed to impale the wearer in order to support a long ruffled train in the back. Another, a severely deconstructed blood-red señorita dress, had part of a jacket attached at the waist, while a matador-inspired strapless gown featured a built-in sword. An assortment of polka-dotted frocks were layered over matching stockings, and cinched with corsetlike straps and holster-inspired tops. Alongside these dramatic statements came plenty of carefully tailored, eminently wearable clothes, deftly proving McQueen's ability to mix iconoclastic statements with commercially viable product. Razored jackets were softened via seashell-like pleated skirts with gently upturned fronts; flared-sleeve eyelet shirts, layered skirts, and embroidered white jeans all looked confident, as did the cut-out dresses and sharp-as-a-tack toreador suits." The full show is shown below.

Fully lined in a second layer of the same printed silk chiffon with more layers in the skirt. It closes with a hidden side zipper and the halter can be tied in several ways. Hand finishes. Purposely deconstructed edges. Museum quality

Bust: to 18" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: to 18" max flat across from side seam to side seam
Length: 57" from top of shoulder to longest points of the asymmetrical hem but it is cut on the bias so will come up some when on the body as bias cut dresses do

Modern Sizing equivalent: XS-SML

Item# DD939

Reference runway photos from style.com / Third reference photo from the ediorial "Dark Angel" Vogue UK, March 2015 by Tim Walker.  Stylist: Kate Phelan.  /  Last three photos: Amanda Lee Shirreffs. Click here to see her original blog post on this look >

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

Vogue said of the S/S 2002 collection: "John Galliano's "Street Chic" collection took the form of a virtual world tour, with stops that included lavishly clad Bedouins, army recruits and girls in the 'hood. This was not the first time Dior has gone globetrotting, but Galliano injected, as always, new energy into his ethnic excursions. His bias-cut silk and lace dresses, embroidered jackets and sheer tops will work better than ever in this season of unbridled romanticism. Python jackets and low-slung hip-hop jeans also seem right for the moment, while the more eye-popping pieces—like the glittering pantsuit embroidered with kitschy Americana motifs—are just the thing for a starlet's weekend jaunt to Vegas."

This is a fabulous and sexy piece and it is looks like this one that defined the years that Galliano was at the head of Dior before his downfall. He was a master at contouring the body into the shapes he wanted and this is a beautiful example of how he combined both structure and flow in the same garment. The bodice is a structured corset that hooks down the front with flat hooks and is boned and shaped. The cups at the bust are padded and shaped to lift the breasts. Each cup is top stitched for extra detailing and this also offers contrast to the striped fabric. At the back the corset is laced so you can adjust it for the perfect cinched fit. Below this the silk chiffon skirt flows to the floor in a two sweeping layers of bias cut silk. It sweeps out as it nears the hem and has a slight train at the back. There is a slit up one side so you can see the the salmon pink silk chiffon layer under the top striped one when you move. Galliano designed fantasy pieces that combined historical references and pulled bits of design from a huge cross section of eras and somehow combined them to create very beautiful clothing. I remember seeing this dress everywhere that season and am sure there are more reference photos to be found for this dress. It really is one of his recognizable pieces. It is absolutely beautiful. Excellent condition

The dress is fully lined in silk through the bust with interior built in padded cups and boning.. It closes with a metal and nylon zipper at the side, laces at the back and hooks to close at the front. The skirt is lined with an attached second layer of silk. Tagged a US6, French 38. Because of the lacing on the back there is some adjustment possible for fit through the bust and waist.

Bust: 15-17" flat across from side seam to side seam
Waist: 2-14" flat across from side seam to side seam
Hips: 16-20" flat across from side seam to side seam
Length: 61" from top of dress to hem

Modern Sizing Equivalent: XS-MED

Item# DD2770

Reference Photos: Christian Dior S/S 2002. (1) Look 47. Model: Liudmilla Bakhmat.  /  (2) Look 44. Model: Karolina Kurkova.

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 emsemble is held in the permanent archives of The Met and is perhaps the only other version made. It is as chic and wearable now as it was when first made and feels very modern. It is entirely finished by hand and would have been made under the direct supervision of Hubert de Givenchy himself. Haute Couture is the very pinnacle of the fashion experience and this is a stunning example of that.

The dress is a stunning affair made of a smoky blue grey silk crepe with a classic Grecian feeling one shoulder silhouette. The construction details are wonderful. The bodice has been gathered by hand to create a series of soft little pleats that sit beside each other and follow the angle of the shoulder. They have an almost "wave" feeling to them and this small detail adds tremendous texture to the dress. This leads to a defined waist that has its original gold leather cord that wraps and ties to add shape. The skirt falls below this in a column of lined silk. Over the simple skirt is a second panel of floating fabric that is angled to pick up the angle of the shoulder. The fabric has just enough weight so that Givenchy was able to sculpt the shape he desired. Over this beautiful dress is a caped piece in a matching fabric that flows softly over the body. No shortcut was taken in the construction and it is a stand out piece in every possible way. However much you think this looks fabulous in the photographs it is infinitely better in person. Excellent condition with a few small notes below to review .

The dress is fully lined in a hand set blue silk of very high quality. There is a wide waist stay that hooks at the inner waist. It closes with a hand set, side painted metal zipper and from the waist down there are hidden set snaps that close the fabric of the skirt over tat zipper. The cape slips over the head . The bodice is lightly boned and there are small pads handset inside the bust. There are some light snags in the fabric here and there - most noticeably on the back of the skirt near the bottom - these are seen most when it is laid out flat but once on the color and placement make them negligible but it is mentioned for accuracy and taken into consideration when priced. Finished to Haute Couture standards and entirely done by hand. Haute Couture tape label #55417

Dress
Bust: 15-17" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Bodice: 15" from top of shoulder strap to waist
Skirt: 42" from waist to hem

Cape
39" from neck to longest point of hem

Modern Sizing Equivalent: SML-MED

Item# DD2767

Reference Photo: 1973 Givenchy Evening Dress 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.

Halston single-handedly transformed cashmere from a dowdy British staple to a fashion must-have. These long, slim dresses made of pure cashmere wool became a Halston staple and were designed for that chic modern woman to wear. The wearer was able to move and be superbly comfortable, never worrying about getting wrinkled or being inappropriate or uncomfortable. Every chic woman had to have one. I have included a reference photo of a lighter blue version held in The Met archives and a campaign photo form 1977 that shows a jumpsuit version in the same brilliant blue as this piece has been done. Recently, variations of his work in cashmere were featured in the Museum at FIT exhibit "Yves Saint Laurent + Halston: Fashioning the 70s". In their exhibit notes they mention these cashmere pieces specifically:

"Halston’s use of historical elements to create new collections was sparing. Rather than re-interpret the designs of those who came before him, he made subtle allusions to those designers whose work he most admired. He was inspired by body-revealing activewear and the sinuous, bias-cut gowns of Madeleine Vionnet from the 1930s, while primary influences from the 1940s included the cashmere sweater sets of Mainbocher and the ingenious ties and closures employed by Claire McCardell"

The dress is full length and cut with a single shoulder and falls from there in a column of royal blue cashmere to the floor. In the book "Halston; An American Original", they talk about Halston's cashmere pieces and quote Polly Mellon as saying: "His cashmere pieces to the floor... weren't just tubes: they had armholes, were neat on top, yet very cozy and at the same time elegant". It is said that they were inspired by a close associate that was a dance instructor and were intended to give the body complete freedom.  The color is amazing - a rich blue that is even better on person then how it photoed. It is the kind of color that will flatter most skin tones. These brilliantly colored pieces are not as easy to find for Halston anymore and this dress is an amazing and rare piece of fashion history. Excellent condition.

Unlined and slips on to wear. It is made from hand-loomed 100% cashmere made in Italy. Tagged a size L but it appears to be cut small and because it is knit it has stretch and will fit a variety of sizes. I have given the comfortable range of stretch while it is lying flat in the measurements below. You could probably go a little beyond that range listed depending on how fitted you wanted it.

Bust: 15-18" flat across from side seam to side seam
Waist: 12-15" flat across from side seam to side seam
Hips: 16-20" flat across from side seam to side seam
Length: 59" from top of shoulder to hem

Modern Sizing Equivalent: SML-LRG

Item#  DD2765

Reference Photos: (1) 1977 Halston Cashmere Dress at the MET Museum  /  (2) Halston with Models, Harper's Bazaar, February 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.

When I started to hunt for reference ohotos to date this dress I found these from the 1984-85 Haute Couture collection. You can see the similar technique sued through the bodice ruching and the skirt. This Valentino boutique version is based on that collection. I have had a version of this before that had a one shoulder silhouette but I think I love this dramatic backless version even more. The silk taffeta skirt is dramatic and full and is his signature Valentino red. It is cut to be full and dropped from the fitted upper torso. I love that the net underskirt has a full 13" hem of the same silk the bodice is constructed from so if you lift the outer skirt up or when you sit you get this wonderful flash of that pattern peeking out from underneath. The bodice is a fabulous. It is is fitted to hug the body from the shoulders to the hip. Screened silk chiffon is hand draped into tiny soft pleats so the entire bodice is gathered and ruched. It has bold shoulders that have pads underneath. If you wanted a softer feel you could easily remove these. And as dramatic as the front is you have equal drama when you turn as the back is scooped with a deep curve that leave the back bare. It is fabulous and presents as excellent condition with some small notes to review below.

The top is lined in a black silk and the skirt has a net and silk trimmed underskirt. It closes with a hidden set side zipper. Padding in the shoulders. The exterior skirt layers of the skirt has some slight discoloration here and there. It is fairly faint and even and with all the fabric and volume you do not notice it when on but it is apparent if you lay it flat and look at the fabric spread out. I have priced it significantly lower then I would otherwise but you can honestly wear this as is and when on, no one would notice the small flaws.

Shoulders: no defined seam
Bust: 16-17" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Bodice: 24" from neck to dropped waist
Skirt: 37" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD2751

Reference Photos: (1) Evening dress with draped bodice in pink silk jersey and matching silk skirt from Valentino haute couture Fall/Winter 1984-85 collection. Photo by Mark Arbeit captured in Rome's via Condotti.  /  (2) Valentino 1984 evening gown, illustration by Tony Viramontes.

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 woman behind the Maggy Rouff label was Maggy Besançon de Wagner and she started her own label in 1928 after a working at the Haute Couture house of Drecoll. The Maggy Rouf house joined the Chambre de commerce et d'industrie de Paris in 1929 and continued to produce Haute Couture until 1965. Maggy gained early recognition by designing for the some of the Starlets of the day like Theda Barra, Pola Negri, and Greta Garbo. I found a photo of a garment from 1963 that has a similar, if not the same, fabric treatment dated 1963. 

This is a chic and deceptively simple dress that has the Haute Couture label of the Rouff atelier. The work is exceptional throughout and it is in immaculate condition. It is made of a pale blue silk that is topped by a pale metallic blue net. Onto the net are ombre dyed ribbon that are coiled and formed into flowers that are strewn across the surface of the dress. These also have a very slight metallic finish to them. Each is hand places and set with slightly curled edges so the flowers have a 3D feel. It is cut in a long column that skims over the bust and waist and then the skirt flares out as it nears the hem. The shape is created through vertical seaming that curves in from the waist and shapes the dress. The interior is a combination of net and silk and the hem is weighted all the way around. It is a dress made to last a lifetime with classic lines will forever remain in style. Excellent, museum quality condition.

Fully lined in silk and closes with a fine painted metal zipper at the side. Completely hand made and finished to Haute Couture standards. Weighted hem

Bust: 18" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: 20.5" flat across from side seam to side seam
Length: 52.5" from shoulder strap to hem

Modern Sizing Equivalent: MED-LRG

Item# DD2743

Reference photo: Model in a Maggy Rouf gown, 1963. (credits unknown)

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

A version of this set is held by the Liverpool Museum and is currently on display in the exhibit happening now at the Walker Art Gallery Collection for the Fashion Icons: Celebrating Gay Designers exhibit.The show motes for that version state:

Bill Gibb was born in Scotland and moved to London to study fashion design at St Martin’s School of Art. Between 1969 and 1972 he worked as a freelance designer for the fashion house of Baccarat before launching his own company.
This evening dress, with its petal-shaped hemline, and glowing jewel-like colours, is typical of much of Gibb’s work in the early 1970s. In particular, his use of an exotic pattern and a metallic Lurex thread in the fabric shows how he was often influenced by rich historic fabrics and non-Western cultures.

Gibb was one of the most influential and famous designers in 1970s Britain and his clothes were sought out and worn by the rich and famous. This three piece ensemble plus a belt is amazing and an absolute perfect example of his work. Included are the midi skirt, a sleeveless tank that buttons at the front, the jacket and a fabric belt. The skirt is cut to midi length and is made of a series of flat, knife cut pleats that fall from a more fitted hip. Into this tucks a top that is sleeveless and buttons down the front with amazing holographic faceted buttons. The jacket is a work of art - it is cut with high capped shoulders and has a fabulous dog eared collar. It cinches at the waist by a seam and flares out below that to past the hip. There are big curved pockets on each hip and the same buttons close the jacket that are on the top. It almost has a slouchy cardigan feel to it. It also has its original belt that has an unusual finish of a flexible holograph strip that picks up on the buttons of the jacket and top. The colors are a fabulous mix of greens with other colors running through and the glitter of the lurex is amazing. This is a rare and absolutely wonderful set. Excellent, museum quality condition.

The skirt is lined through the hips and where the pleats start it is unlined. It closes with a side zipper. The top buttons to close and has an expanse of lining around the lower half that you tuck in and it helps it stay on place. It is unlined. The jacket is lined in a green silk satin and buttons to close with two buttons on each cuff as well. Pockets on each hip of the jacket. Original tie belt included. The skirt and jacket are tagged. Appears unworn.

Jacket
Sleeves: 24" approx.
Shoulders: no defined seam
Bust: 18-18.5" flat across from side seam to side seam
Waist: 14.5-16.5" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Bodice: 16.5" from neck to waist
Skirt: 16" from waist to hem

Top
Bust: 16.5-17.5" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Length: 21" from shoulder strap to hem

Skirt
Waist: 12.5" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 34.5" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2739

Reference Photos: (1) Evening dress, Bill Gibb, 1973 from the Walker Art Gallery Collection (on display now for the "Fashion Icons: Celebrating Gay Designers" exhibit). / (2) Evening dress, cellulose acetate, nylon and lurex, Bill Gibb, 1973, Liverpool Museum Archives.

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 not only exceptional, it is a dress that feels like it has walked through a time capsule as it still bears all its original tags. This has the added bonus of providing us with the RN number which gives us a date of approximately 1975 for this beauty. It cost $2500 at that time which translates to a price tag of about $11,000 in current dollars. 

This fabulous maxi dress has an exotic and beautiful pattern that has a gold lame thread woven through the silk. Oscar then took that stunning fabric and made it pop even more with the addition of a braided gold metal thread edging that runs down the edge of the skirt and around the hem. It also circles the neckline and edges the overlap there as well as circles each cuff. Huge crystal domes buttons also sit along the detailing on the bodice. Perhaps most astonishing is the addition of hundreds of little brass bells that are hand placed into all the braiding. These are real bells so every time you move there is a wonderful little sound hat all those bells makes. Its amazing. The skirt cascades to the floor and appears to wrap around itself though it is all attached and secure. I love the offset feel tot he top that continues the illusion of a wrap dress. The silk chiffon is lightweight and the fabric really allows the skirt to swirl around you as you move. It has a slim cut matching belt that you can use to cinch in the waist for more shape. Everything about it is extraordinary and it is very beautiful and a real testament to the work Oscar was doing during this time period. Excellent condition.

The bodice and sleeves are fully lined in a blue silk satin of high quality and the skirt is unlined. It closes with a back, hidden set metal and nylon zipper. Zips at each cuff. Light padding in each shoulder. Tagged a size 10. The belt is in excellent shape and closes with hook and grommets. It has all its original hang tags and has never been worn.

Sleeves: 24"
Shoulders: 15"
Bust: 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 20.5" flat across from side seam to side seam
Bodice: 18" from neck to waist
Skirt: 41" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD2735

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 Philadelphia Museum of Art recently hosted an exhibit of the work of Patrick Kelly. The show notes state: "“I want my clothes to make you smile”—that was the goal of late African American designer Patrick Kelly in creating his bold, bright, and joyful creations. Kelly achieved this on the streets, nightclubs, and runways of New York, Paris, and beyond in the heady, inventive, and often-subversive urban milieu of the 1980s....Kelly’s work pushed racial and cultural boundaries with golliwog logos, Aunt Jemima bandana dresses, and his ubiquitous black baby-doll brooches. His playful looks were inspired by his muse, Josephine Baker, and admiration for couturiers Coco Chanel, Elsa Schiaparelli, and Yves Saint Laurent, among others." I have included the video form the exhibit where you see a flash of a similar dress on the runway and also photos that have the twin on this same dress in a group with Patrick himself

This dress is from the Fall/Winter 1988 Collection and for this collection he spoofed on the work of Coco Chanel, something he was known for and di often with a variety of designers. The collection was call "Miss CouCou" and the dress also showcases another of his signatures - the use f the bow. Each bow you see is hand sewn into place and the dress is literally covered in bows in all of the colors of the rainbow. It is an exceptional example of Kelly's work and has the added provenance of being featured in photos with Patrick himself. Kelly's pieces are synonymous with sex appeal and his pieces have a sense of chicness combined with high street. With this dress he skillfully mixes a sexy and short silhouette with girlish bows. It is cut to follow your every curve and highlight the body. This is a superb and rare piece by a great American designer. Excellent condition

Unlined and closes with a back metal and nylon zipper. The dress has slight stretch. You can clearly see the hand work to apply the ribbons on the interior side of the fabric. The stretch fabric will allow it to fit a variety of sizes. It appears it have never been worn

Sleeves: 23.5"
Slightly dropped shoulders: 16"
Bust: 17-20" flat across from side seam to side seam
Waist: 14-17" flat across from side seam to side seam
Hips: 17-21" flat across from side seam to side seam
Length: 37" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# DD2733

Reference Photos:  Patrick Kelly and models displaying the Fall/Winter 1988 Collection, photographed by Oliviero Toscani.

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 fabulous 1972 ultrasuede shirt dress is done in a beautiful cream color. These were THE thing to own in the 1970's - no one had seen this fabric before and they were all the rage! Similar examples are held in The Met's and the Museum at FIT's permanent collection and this particular one is actually the twin of one of theirs. The notes there state: "Wrapping, tying, and folding were all habits of mind for Halston. That the designer prized simplicity is evident in his most famous millinery achievement, the pillbox hat. In this Ultrasuede shirtwaist, perhaps his greatest dressmaking success, he offered a versatile sportswear icon in a new material, allowing for countless individual expressions through personal styling."

I love the that this one has such sleek lines and is so seventies in feel - the color is a simple neutral and the cut is fabulous. These can get stiff as they age but this one is still soft and supple. The waists on these are cut to skim over the torso but the original belt allows you to cinch it in for shape. I love the button front that allows you to use it as a layered piece or light coat as well as a dress. Hidden pockets allow for the perfect cool girl slouch. I have included here the photo from 1972 of Halston surrounded by models in variations of this collection and the photo of the dress held at FIT. Excellent condition.

Unlined and buttons down the front. Has its original tie belt. Pockets on each hip

Sleeves: 24"
Shoulders: 15"
Bust: 19.5" flat across from side seam to side seam
Waist: 18" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 42.5" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD2729

Reference Photos: (1) 1972 Halston Ultrasuede Shirt Dress from The Museum at FIT Collection.  /  (2) Halston with various models. Photographed by Duane Michals, Vogue, December 1, 1972.

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 fabulous, and rare, Haute Couture evening coat, done in a rich midnight blue silk is extraordinary. This is from the second collection by Yves Saint Laurent for Christian Dior collection for the Fall/ Winter collection of 1958 and has all its proper labels denoting it as a piece from the Haute Couture collection. It is also the piece from the show that was used in the ad campaign that season and I have included that reference photo here for you as well. It has the strong lines that Yves was after with his ground breaking collection that season and it is extraordinarily beautiful and a true piece of fashion history.

The coat feels like it was worn very little if at all. It is numbered and entirely hand finished and extremely well made to the standards of Haute Couture. This would have been made in the ateliers of Dior and fitted by Yves himself at the final stages. The coat is cut with the volume that the era and Yves dictated where in fashion. A neat rounded collar wraps around the neck and over itself to close just off side. This sits above a double row of large silk covered buttons in the same beautiful deep shade of blue silk the coat if made from. The vertical seams that run down each side of the buttons are cut gracefully on a slight curve and pockets are hidden along them. The back has a great swoop of volume and fullness caused by an inverted pleat that opens from just under the collar and gives the back of the coat incredible volume and swing. It is absolutely wonderful and an exquisite example of Haute Couture from one of the nost important houses of our modern era. Excellent condition

Fully lined in hand set silk and buttons to close at the front with pockets on each hips. It is in the best possible Museum level condition that it could be in in my opinion. The coat is meant to sit and feel slightly oversized so will fit a variety of sizes.

Sleeves: 16"
Shoulders: 16"
Bust: open
Waist: open
Hips: open
Length: 38.5" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# C434

Reference Photos: (1) Christian Dior, 1958.  /  (2) As photographed for creative purposes by Ted Belton. Stylist: Amanda Lee Shirreffs. Hair & Makeup: Erin Heather. Model: Ginni Connors at Elmer Olsen. (3) & (4) Behind the scenes shots from the shoot from Cherie's iPhone

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

Stripes and prints were mixed with joyful abandon on the Spring 2011 Prada runway and were then translated for retail with very little difference in some case. This skirt is a great example of that as it stays very true to the version that walked the runway. This is a mixing of prints that has become iconic and instantly associated with Prada. It is made of a almost canvas feeling cotton mix so it retains structure. The print covers the skirt from top to bottom and all the way around the sides and back. I love the baroque feel it has mixed with a very modern silhouette. It's a beauty. Excellent condition

Style.com said of this collection:

"Only Miuccia Prada could attach a label like "minimal baroque" to a collection whose references ranged from hospital scrubs to seventeenth-century cherubs to Jazz Age superwoman Josephine Baker. Fishing around for an alternative to "fresh," she herself came up with "brave, bold, and obvious"—that last one a typical head-spinner......But there was also more than enough of Prada's twisty-ness to boost this collection into her already chock-full pantheon of greats. Those cherubs, for a start, plucked from a curlicued baroque interior and all mixed up with bananas and naive monkeys in an exuberantly cartoonish print that looked like something lifted from a poster for a Josephine Baker performance at the Folies Bergère in the twenties.....As she said backstage, banana earrings vibrating: "It's time to be bold." And that's one maxim that, with any luck, will rub off on the world at large."

Fully lined in a black silk and closes with a hidden set side zipper.

Waist: 14.5" flat across from side seam to side seam
Hips: 19.5" flat across from side seam to side seam
Length: 22" from waist to hem

Modern Sizing Equivalent: MED-LRG

Item# S764

Reference Photo: Look 8 from Prada S/S 2011. Model: Sara Blomqvist.

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

These long, slim dresses made of pure cashmere wool were a Halston staple and were designed for that chic modern woman to wear while entertaining at home or in an intimate setting. The wearer was able to move and be superbly comfortable, never worrying about getting wrinkled or being inappropriate or uncomfortable. Really these were one of his signature pieces and every chic woman had to have one. Variations were recently featured in the Museum at FIT exhibit "Yves Saint Laurent + Halston: Fashioning the 70s" In their notes on some of his work they mention these cashmere pieces:

"Halston’s use of historical elements to create new collections was sparing. Rather than re-interpret the designs of those who came before him, he made subtle allusions to those designers whose work he most admired. He was inspired by body-revealing activewear and the sinuous, bias-cut gowns of Madeleine Vionnet from the 1930s, while primary influences from the 1940s included the cashmere sweater sets of Mainbocher and the ingenious ties and closures employed by Claire McCardell"

The dress is full length and cut with long slim sleeves and falls form the shoulders in a column of red cashmere to the floor. The color is amazing - a true red that will flatter most skin tones. Versatile and beautiful, it is an amazing and rare piece of fashion history. Note that this is not perfect but does present very well. Please review condition notes below.

Unlined and slips on to wear. It is made from hand-loomed 100% cashmere made in Italy. There has been some old repairs done to the fabric. It could probably be re-woven properly and the value would instantly double. It could be worn as is and the larger area easily hidden under a belt. Please review the photo provided. This is priced at half the current market value with these small flaws present as is. The fabric does have stretch and due to he forgiving cut will fit a variety of sizes.

Sleeves: 25"
Shoulders: 15"
Bust: 16.5-18.5" flat across from side seam to side seam
Waist: 15.5-17.5" flat across from side seam to side seam
Hips: 19-21" flat across from side seam to side seam
Length: 55.5" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# DD2723

Photo: The Museum at FIT, permanent 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.