Christian LaCroix launched his Haute Couture house in 1987 and was instantly adored and revered. A ready-to-wear line soon followed along with perfumes and menswear. His collections are always an exotic, lavish affair and his inspirations spanned the decades with their eccentric, exotic glamour. His atelier closed in 2009. This dress is from the Spring 2006 collection and was shown on the runway. I love that for production they went with an even longer length.

I love this dress and how it showcases LaCroix's love of drape and a bias cut. It has the added benefit of being a version of the dress that was shown on the runway that season in a slightly shorter length. It is suspended from the shoulders by tiny straps that are made from the same silk as the dress. Triangle cups cover the bust at the front with just a small hint of gathers to the fabric at the center and at the back it scoops down for a little extra skin to show. From there the dress falls in a sweeping bias cut that gradually widens out as it nears the hem. The skirt is made up of yards and yards of silk and there are little pleats set just under the bust to give it even more volume and movement. The whole dress has an easy and sexy scarf dress type of feel to it. I love the print that runs over the silk. It is set onto the fabric like a patchwork of design that should all clash but because the tones are all kept in a similar palette it all works perfectly. It is so simple but so very sexy. Excellent condition

Fully lined in an ivory silk and closes with a hidden set side zipper. Tagged a size 42. It appears to have been worn very little if at all.

Bust: to 17" flat across from side seam to side seam
Seam under bust: 16" flat across from side seam to side seam
Natural waist: to 17" flat across from side seam to side seam
Hips: open
Bodice: 12" from top of shoulder to seam under the bust
Skirt: 47" from seam under the bust to hem

Modern Sizing Equivalent: SML-MED

Item# DD3027

Reference Photo: Christian Lacroix S/S 2006, Look 61.

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 color of this Haute Couture dress by Marc Bohan for Christian Dior is striking and is the first thing you notice. It is an unusual shade and even the camera has not quite captured just how wonderful it is in person. The fabric is a silk chiffon and it has little medallions woven through the silk that I like to think are stylized four leaf clovers. It is from the Fall 1973 collection and a version of it in t a different print was photoed for an editorial that year (I have included it here as reference). I think this all green version with its play on transparencies is far better then that one though.

It is so flattering on. The attention to detail shown in every stitch is breathtaking and to the highest standards. Being a Haute Couture piece, It would have been made entirely by hand in the Dior atelier. The silk chiffon used is of the highest possible grade and gives the dress its beautiful drape and line. The bodice is cut into a low V at the front and the waist is fitted. There are long attached ties of fabric that wrap and hook around the waist and at the front there is a soft bow of fabric. Each sleeves is cut so that it puffs above the fitted cuffs - you can really see how full they are in real life in the added editorial reference photo. The skirt is soft and there is an unexpected amount of fabric in it that give you a sleek line when you are standing and then when you move it shows how full it is. I love that only the front of the bodice is lined, this leaves the back semi-transparent for an unexpected sensuality. It is gorgeous and better in person. Excellent condition.

The front bodice and skirt are fully lined in a matching green silk and the dress is completely made by hand as the parameters of Haute Couture dictates. It closes with a back, handset painted metal zipper and there is second zipper that closes the inner skirt lining. The cuffs button with green silk covered buttons. I see one tiny repair to the fabric on the bow that wraps around the waist but you wold never see this unless you go over it meticulously. Haute Couture number 003016. Note that in person the color is even better then how it photoed.

Sleeves: 25"
Shoulders: 14.5"
Bust: 18" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Inner lining hips: 18" flat across from side seam to side seam
Bodice: 13" from top of bodice to waist + a 3" band
Skirt: 28" from bottom seam of waist band to hem

Modern Sizing Equivalent: SML-MED

Item# DD2883

Reference Photo: Christian Dior, 1973.

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

The Spring 2005 Prada show is one of the label's most iconic and recognizable. In her review of the show, Vogue's Sarah Mower stated: "Just when the whole fashion world has turned ladylike—thanks, of course, to Miuccia Prada—she's tossed it all in the air, looking for a certain freedom. "A vague idea of birds; birds of vanity, like peacocks, parrots, and swans," was a starting point in her restless search for change, she explained. "I also wanted to move toward something more young and sporty, tall and narrow.... In broad terms, the news from Prada included a different silhouette (short hemlines, worn mostly with flat sandals), a return to one of her favorite palettes (brown-ochre-rust), and as always, lots of artful eccentricity (peacock feathers, flowerpot hats, Bakelite digital watches). There was also a Jamaican dance hall vibe, with reggae on the sound system, Rasta stripes in the knitwear, and Caribbean crochet in the raffia hats and cardigan coats. The birds really took flight for night, in the form of skirts overlaid with peacock feathers, dresses covered with digitalized feather prints, and pretty chiffon gowns whose fan-like pleats hinted subtly at dove's wings."

This is Look 48 from the runway show and one of my personal favorite pieces of the show. It is in that exact color that the show's review mentions in the paragraph above - a brown-ochre-rust color - and the silk shantung fabric chosen for this piece also gives it  a slight metallic sheen which adds to the allure of the piece. The dress is cut micro mini short with a simple A-line cut skirt that flares out as it reached the hem and a single shoulder at the top. Black silk ribbon insets add detailing around the waist and down the skirt to frame the embellished front. The skirt is heavily embellished with large paillettes, beads and crystals mixed with copper colored sequins. This is classic Prada and feels even more fresh then when it was originally presented on the runway. Excellent condition

Fully lined in a brown silk and closes with a hidden set side zipper. Hand set boning through the sides. Tagged a Prada 40

Bust: 16" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Bodice: 13.5" from top of shoulder to waist
Skirt: 21" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2818

Reference Photo: Prada Spring 2005 Runway Show, Look 48. (Model: Querelle Jansen)

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

The Spring 2005 Prada show is one of the label's most iconic and recognizable. In her review of the show, Vogue's Sarah Mower stated: "Just when the whole fashion world has turned ladylike—thanks, of course, to Miuccia Prada—she's tossed it all in the air, looking for a certain freedom. "A vague idea of birds; birds of vanity, like peacocks, parrots, and swans," was a starting point in her restless search for change, she explained. "I also wanted to move toward something more young and sporty, tall and narrow.... In broad terms, the news from Prada included a different silhouette (short hemlines, worn mostly with flat sandals), a return to one of her favorite palettes (brown-ochre-rust), and as always, lots of artful eccentricity (peacock feathers, flowerpot hats, Bakelite digital watches). There was also a Jamaican dance hall vibe, with reggae on the sound system, Rasta stripes in the knitwear, and Caribbean crochet in the raffia hats and cardigan coats. The birds really took flight for night, in the form of skirts overlaid with peacock feathers, dresses covered with digitalized feather prints, and pretty chiffon gowns whose fan-like pleats hinted subtly at dove's wings."

This is Look 22 from the show and is absolutely infused with that Prada vibe. Here we see her masterful hand at mixing textures with color. The top of the dress is a combination of eggplant and purple, anchored by an almost startling strip of red at the waist. A bright purple grosgrain ribbon details the sides of the bodice. The skirt is a combination of a deep brown and a moss green pleated & textured silk chiffon. The cut is micro mini short and the skirt has lots of movement and it is just gorgeous. The silk chiffon it is made from is feather light and it is given shape and structure by the addition of two rows of horizontal stitching placed over the hips. The top is a light weigh wool and I love the contrast of fabrics. The one shoulder silhouette balances the length of the skirt nicely and the unusual color combination is fabulous.  Excellent condition

Fully lined in a deep brown silk and closes with a hidden set side zipper. Hand finishes. Tagged a Prada 40

Bust: 17.5" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Bodice: 17" from top of shoulder to waist
Skirt: 16.5" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2820

Reference Photo: Prada Spring 2005 Runway Show, Look 22. (Model: Kim Noorda)

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

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

The dress is stunning and weighs mere ounces. It is a silk chiffon that is entirely cut on the bias so that flows and moved beautifully over the body. The coral design that runs over it has been done in soft neutrals to play against the pale ivory silk. It is almost weightless and yet constructed so that it drapes on the body perfectly. The skirt is to the floor and has yards of fabric in it. Two layers of chiffon are under the top layer so it gives it a very floating effect when you move. The waist is cinched and the back scooped low for a bare expanse of skin to show, broken only by the silk covered elastic band that runs across the scoop to hold it perfectly in place. If you prefer it to be completely open you could easily remove this so you get more of the effect of the editorial reference photo included here. The top is stunning with its classical one shoulder design that leaves the other shoulder bare. The bodice is cut to sit loose and draped. It is beautiful. Excellent condition

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3022

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

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

Heart-breakingly beautiful, this silk chiffon Hanae Mori gown is a rare example of her true Haute Couture work. The dress just an absolute work of art from the Spring 2000 collection. It is an interesting example of how the client is really the driving force behind what they buy. The dress is an adaptation of look seven from the runway and uses a print from the Fall 1990 collection. I have included a reference photo of both the 2000 runway dress and the 1990 one as they were presented.  It has her signature east meets west feel and it is an honor to have a piece of her couture work in the shop. Hanae was the first woman of Japanese descent to have presented on the Paris and New York Runways and the first Asian woman to be admitted as an official Haute Couture house to La Chambre Syndicale de la Couture Parisienne.

The dress features one of her custom designed prints, depicting a forest of trees rising up along the side of a mountain. She has screened this onto the top layer of the skirt that is made from a feather light silk chiffon. The inner layer of the skirt is made from a fine silk twill and this is also screened with that same design. The layering of the two fabrics gives the print depth and a touch of the surreal as they move over each other. Interspersed here and there over the silk are her signature butterflies. These are screened onto the silk with such a light touch that they seem almost ghostly as they flit randomly over the silk. The bodice is highly structured in contrast and uses different shades of grey silk to add to the contrast of the layers. Here the silk is hand pleated and gathered into soft folds that shape and mold the upper body. The dress is suspended from tiny straps that curve up and over each shoulder. At the back, the silk flows out into a soft train. A matching shawl of the same silk chiffon is screened with more of that beautiful art work. Inside the dress is her proper Haute Couture label and it's numbered couture tape underneath. Excellent condition with a tiny note to review below

Fully lined in a hand set cream silk. It has a fully built in inner boned bodice that closes with its own independent zipper. A second, hidden set zipper closes the exterior. The top silk chiffon layer of the skirt hides the zipper below the waist with fabric covered snaps. Inner waist stay. Hand finished to couture standards. Haute Couture tape #C 1109 5.4.2000. There is the very faintest of tiny marks to the silk just below the waist line with the tiniest of pulls to the fabric here and there. A small bit if scuffing to the inner lining of the train. All extremely minor and when on it appears unworn.

Waist: 14.5" flat across from side seam to side seam
Hips: to 20.5" flat across from side seam to side seam
Bodice: 15.5" from top of bodice to waist
Skirt: 44" from waist to shortest point of front hem, 59" to the back hem
Shawl: 36" x 124"

Modern Sizing Equivalent: MED-LRG

Item# DD3020

Reference Photo: (1) Hanae Mori F/W 1990 Haute Couture Collection.  /  (2) Hanae Mori S/S 2000 Haute Couture Collection. (3-4) Cherie, Owner of Shrimpton Couture, by Erin Leydon. Cherie is wearing a Magnetic Midnight X Shrimpton Couture 'Shooting Stars' Headpiece - available on the site here >

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

The twin of this dress is held in the permanent archives of The Metropolitan Museum. It would not surprise me to find out that these were the only two version made of this dress as true Haute Couture pieces were never prodiued in any significant quantities. It is as wearable now as it was when first made and feels very modern. It is entirely finished by hand and is from the time period when the house was run by Hubert de Givenchy himself. Finding vintage examples of Haute Couture is always very special and this is a wonderful, well documented piece showcasing Givenchy's work during this time period.

The dress is made of a deep blue grey silk crepe. It is cut with a strong nod to the classic Grecian silhouette that leaves one shoulder exposed and bare. The construction details throughout the dress are exquisite. The bodice has been gathered by hand to create a series of soft gathers that run from shoulder to waist and follow the cut of the neckline as it angles up towards that single shoulder. This adds a beautiful texture to the bodice of the dress without having to divert from his chosen color or fabric. The waist is defined waist by a slim cut gold leather cord that wraps and ties to add shape. The skirt falls below this in a slim column to the floor. Set over the skirt is a panel of fabric that is cut so that it angles softly down one side, picking up the angle of the shoulder. Slipping over this goes a cape, made from the same fabric. No shortcut was taken in the construction and it is a stand out piece in every possible way. Even 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 the zipper. The bodice is lightly boned and there are small pads handset inside the bust. The cape is unlined and slips over the head to wear. There are some light snags in the fabric here and there and some small areas pf darkening on the skirt overlay - the snags are 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 all of them negligible. It is mentioned for accuracy and taken into consideration when priced. Haute Couture tape label #55417

Dress
Bust: to 17" 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: 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: XS-SML

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.

The original owner of this dress wore it to host a dinner party in 1989 but I do not know if she had purchased it that same season or from a slightly earlier season. There are hints of it from both the 1986 collection in terms of  some of the construction details and the 1988-89 collection in terms of color specifically. I have included reference photos for both those collections. Of course Haute Couture was always custom made for the client so would rarely be a specific copy anyway but it is nice to have a more narrow date range.

The dress is a stunning example of Valentino's work during this time period. It mixes a sense of restraint and elegance with the softness and sensuality that the silk gives it. You are entirely covered form neck to hem but the transparency of the silk through the billowing sleeves and upper shoulders hint at the skin underneath and keep the dress from feeling too demure. The bodice is a masterpiece in shaping and couture techniques. The silk here is entirely set and gathered by hand and immaculately stitched into place to create the soft pleats that curve over the bust and highlight your shape. Inside it is boned and shaped but not to the point where it feels constrictive, just so that it holds you in place and shapes you perfectly. The skirt flows out under that in four full layers of bias cut silk chiffon so that when you move the skirts seem to float around you. This is the type of gown that Valentino excelled at; refined elegance mixed with a luxurious fabric and finished with a master's touch of provocativeness and romance. The dress presents as excellent but does have some flaws. Please review the notes below.

The interior bodice is finished in muslin, lingerie netting, boned and molded through the bust. The sleeves and upper shoulders are unlined and the skirt is made from four full layers of silk. The interior bodice closes with series of hook and eye and the dress sips to close over that with a painted metal zipper. Each cuff buttons to close with two silk covered buttons and loops. Three buttons also sit at the top of the back neck just above the slit opening that starts just above the zipper of the corseted bodice. There are various discolored areas through the skirt that go through the layers. I have photoed the worst of them. There is so much fabric that once on these are almost invisible to the eye so it is wearable as is if you are OK with it being not 100% perfect. There are some very light faint versions of the same on the upper front above the corset and through the sleeves. I see one tiny repair near the hem at the back of the skirt. Priced well down from what it would be if perfect. Note for those that buy based on how it fits me that it was a little long through the bodice and big through the bust and waist on me.

Dress
Sleeves: approx 25"
Shoulders: 15"
Bust: 17.5" flat across from side seam to side seam
Waist: 16.5" flat across from side seam to side seam
Hips: open
Bodice: 16.5" from top of neck to interior waist stay
Skirt: 45" from interior waist stay to hem

Matching ruffle edged shawl (photoed separately)
54" x 52"

Modern Sizing Equivalent: MED-LRG

Item# DD3018

Reference Photos: (1) From the book "A Grand Italian Epic, Valentino", 1988/1989 collection  /  (2-3) The "Degradè" Dress from the Valentino Haute Couture 1986 collection. (4) Cherie, Owner of Shrimpton Couture, by Erin Leydon taken on location at JohnMel Stables 

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

Sybil Connolly was based in Dublin and her first major fashion show as a designer in her own right was in 1953 and quickly became a darling of the American market. Jacqueline Kennedy wore  Connolly for her official White House portrait and Connolly was a particular favorite of Carmen Snow, the editor of Harper's Bazaar. In 1957 she launched her couture label. She created Haute Couture pieces made from Irish textiles and in particular she became famous for her distinctive use of  pleated handkerchief linen. This excerpt explains Sybil Connolly's techniques:

"Sybil Connolly's trademark gowns required a tremendous amount of fabric. To construct one pleated evening dress required between 72 and 90 yards of Irish handkerchief linen. After undergoing a secret pleating process, this initial yardage became 7 to 10 yards of slightly irregular, narrow linen pleats. Like the early 20th century designer Mario Fortuny, Sybil Connolly was very protective of her pleating process, swearing that it was a secret she would "carry to the grave." In her designs, Connolly usually oriented the pleats horizontally, covering the seams with self-fabric cording. The cords also lengthen the overall line of the garment, providing a counterbalance to the horizontal pleats. As Connolly tended towards solid colors, the stiff cording also provides a necessary visual contrast to the soft linen pleats."

This dress is a stunning example of that technique. It is most likely from about 1965 based on the bow details used on the side of the skirt, though she did make variations of this dress from the mid 1950s to the mid 1960s so it could be an earlier version.  She worked directly with the cloth when she did her design work and rarely did any preliminary sketches. This dress has a very formal feel to it that is softened by that lovely soft blue color that the linen has been dyed to. The bows are a stiffened organza and the color of those slightly offset the blue of the dress. They add a touch of romance and whimsy as  they run down the sides of the skirt, securing in place the long, inverted folds down each side. The dress is kept simple so that the pleating technique takes center stage. The bodice is sleeveless, with a high neckline at the front and a slight V at the back. The waist cinches in for shape and then the skirt billows out to a beautiful string line that allows the many yard of fabric used to take full center stage. It is stunning and a rare example of fashion history. Excellent condition with one small note below to review.

The dress is fully lined in a blue hand set silk and closes with a back painted metal zipper, Inner waist stay closes with hook & eye. The hand work done can clearly be seen through the interior. Some shattering to the silk on the inner bodice (photoed). This does not affect the exterior at all and seems stable as is.

Bust: 17.5-18.5" flat across from side seam to side seam
Inner waist stay: 13" flat across from side seam to side seam, if left unhooked you could get a bit more room
Hips: to 21" flat across from side seam to side seam
Bodice: 15.5" from top of bodice to waist
Skirt: 42" from waist to hem with abut 3" turned up under the hem

Modern Sizing Equivalent: SML-MED

Item# DD3017

Reference Photos: (1) Model wearing an Irish linen gown by Sybil Connolly, 1957.  /  (2) Model wears Sybil Connolly dress in Vogue US, March 1962. Photo by Henry Clarke.  /  (3) Sybil Connolly Skirt in Harper's Magazine, August 1965.  /  (4) Model wears Sybil Connolly in Vogue US, August 1967. Photo by Patrick Lichfield.  /  (5) Credits Unknown.

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

This was one of the highlights of the 2014 Pucci runway, shown on Isabeli Fontana for Look 37 of the fall presentation. Even though it is a recent piece, it is sure to  become an important piece in terms of Peter Dundas' career. Style.com said that this was one of his best collections:

Over his five years at Emilio Pucci, Peter Dundas has soaked in the house's Italian jet-set heritage and turned the show into one of Milan's hot tickets. ...... Dundas tapped into his own history, and the result ranks up there with his best collections for Pucci.....Jersey was another house signature, but back in Emilio's day it never draped quite as fabulously. 

The dress is made out of a slinky, fine light weight, black jersey, cut to highlight and show off your figure. It also is micro mini length so shows miles of long bare legs. Cut outs circle the upper bust to giving a sexy glimpse of skin. These cut outs are connected by a gold chain that running around your upper bodice and creates a tantalizing series of open slashes. The workmanship that has been out into the dress and draping of the jersey is extraordinary and shows a high level of  technique. This particular fabric is extremely hard to work with and the level of fit and draping that Dundas has achieved is wonderful.  The original price on this dress was just over 4000+ taxes and I would bet that given the time to become a "true" piece of vintage that its value will far exceed that and what it is listed here for. New with original hang tag and never worn.

The skirt is a double layer of jersey that continues up through the bodice and the upper shoulders and sleeves are a then a single layer. It closes with a hidden set zipper at the side and hook and eye along the neck. Tagged a modern IT44, FR40, UK12 or 10US. The fabric does have stretch

Sleeves: 31" and push up when on
Bust: 15-20" flat across from seam to seam
Waist: 14-16" flat across from seam to seam
Hips: 18-21" flat across from seam to seam
Length: approx 35" from neck to hem but when on you can wear it as short as you wish

Modern Sizing Equivalent: SML-LRG

Item # DD3012

Reference Photo: Isabeli Fontana for Emilio Pucci, F/W 2014 (Look 37).

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, 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 - an inner silk dress that acts as the lining, and the outer layer that is 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 so photoed it with the buttons down the front and also turned around and with the buttons running down the back. The neckline is collarless and simply ties with that row of silk covered buttons starting below a bit of an opening. 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 is done by hand, with masterful technique and spaced apart perfectly. 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 a real girl's body. Entirely made by hand with the Haute Couture tag and numbered tape behind 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.

The Chanel Cruise collections have an interesting history. Gabrielle Chanel actually sailed and her love of the sport led to her inception of a 'cruise' collection in the 1920s. She was not the first to come up with this concept but hers were among the first to show a complete collection in a fully fledged show. They eventually fell off in popularity and it was not until Karl Lagerfeld took over Chanel that the cruise collections started again.

This Chanel dress from the 2002 Cruise collection is phenomenal. It successfully marries an unexpected stretch jersey fabric choice with insets and draped panels of silk chiffon. The cut is pure evening, while the fabric has a more relaxed feel. It makes it wonderfully easy to wear and very comfortable once on the body. the color is a deep midnight blue that almost appears to be black in certain lights. The fabric is light in weight but with enough substance to hold the shape and give it the wonderful curving shape through torso and the skirt that you see. The bodice of the dress is suspended by straps that curve over each shoulder.  One shoulder has looping panels of silk chiffon that you can allow to just fall over your arm or loop your arm through. At the top of that same shoulder sits a pretty silk chiffon flower. The bodice is fitted and a draped chiffon panel curves over it on both the front and back. The skirt is cut to hug your curves over the hips, narrows in and then flares out in a dramatic expanse of chiffon and jersey. The back flares out behind you in a bit of a train and the bottom half of the skirt has a more transparent feel with its chiffon panels. The ribbed jersey portions of the dress allows it to move and fit to accommodate you underneath and the dress moves wonderfully when it is on. The double C logo sits on the top of one shoulder strap for the perfect finish. The construction is immaculate. Excellent condition with one very minor note below.

Fully lined in a matching blue silk chiffon and it zips to close at the side with a hidden set zipper. The fabric does have some stretch.  There is one small vertical repair to the train. You would never notice it unless its laid out flat because of the way the fabric falls when it is on. It is tagged a Chanel 40

Bust: 17-18" flat across from side seam to side seam
Waist: 14-15" flat across from side seam to side seam
Hips: 19-21" flat across from side seam to side seam
Bodice: 15" from top of bodice to waist
Skirt: 46.5" from waist to front hem, 54" to the longest point at the back

Modern Sizing Equivalent: MED-LRG

Item# DD3006

Reference Photos: Cherie, Owner of Shrimpton Couture, by Erin Leydon. Cherie is wearing a Magnetic Midnight X Shrimpton Couture 'Star Bright' Headpiece - available on the site here >

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

This Chanel hat is amazing. It is made to sit lightly on the head like a little half cap. It has a comb that holds it in place and then the glossy black feathers explode in a glorious pouf of volume. I love that you can style it so that the feathers will sit in any directions, top, side or back. This gives it so much versatility and the feel of it completely changes depends on how you have it sit on the head. It is an instant shot of high glamour to any outfit and a very collectible piece of Chanel. Excellent condition

Secures to the head with a comb. The base of a black felt wool and the feathers are glossy. It will fit any size since it is just a half cap design. Each side of the triangle shape measures about 98" ling.

Item# A339

Reference Photo: Stella Tennant by Karl Lagerfeld for Chanel F/W 1996.

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 book 'Ossie Clark, 1964-1974' by Judith Watts, has a coat pictured in it from the 1971 collection with the same slightly off-set buttoned front that this suit has. The label on the suit is his couture/custom made label and this is certainly the only version of this particular suit that I have seen. I love the shade of red. It is one that is flattering to most skin tones and has such impact despite the relative simplicity of the design. The suit is two pieces, a light weight top that is shaped more along the lines of a jacket, and a pair of trousers. The pants are flat fronted with minimal seaming and cut to be fitted and sit high and slim around the waist and hips. The legs widen out as they near the hem and that cut gives the effect of an extra long leg. The jacket is cut to skim over the body and lands just below the hips. It buttons entirely up the front and by the time is reaches the wide set collar the buttons sit just under one side so the entire row of buttons is set just off the center point. Angled, top set, flap pockets sit on each hip and the collar is elongated and pointed - a signature Ossie collar. The fabric choice utilizes another of his favored signatures - it's a moss crepe that drapes and sits wonderfully. Presents as excellent condition overall with some minor notes to review below.

Unlined with the jacket buttoning up the front and the pants zipping. There is some slight fading across each shoulder that I have photoed. It is priced accordingly. Tagged an vintage Ossie UK 12 but of course go by the actual measurements. It is cut small.

Jacket
Sleeves: "22
Shoulders: 15"
Bust: 17" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 30" from top of bodice to waist

Pants
Waist: 13" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 44" from top of bodice to waist
Inseam: 32" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3003

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 wonderful and even better on a real body. It is made of a fluid scarf weight silk in a gorgeous red that has just a hint of a coral tone to it. The fabric has a secondary print of little triangles and flowers woven directly through the silk and then that is covered with a combination of oversized white dots and smaller blue & yellow dots. Long panels of the same  silk fabric wrap around the waist, tie and then flow down each hip. Each ends just above the hemline and this gives the skirt a really unusual effect and adds an interesting volume to each side without adding bulk. One of the side ties is attached along the side of the waist and the other is not attached at all. I am not 100% sure if originally both were meant to be attached and it will be sent as found. I think that having one free and loose gives you more styling options so prefer it that way myself. The skirt has a faux wrap effect so that when you move or sit you will get a sexy glimpse of bare leg showing. The top is strapless and lightly boned inside for support and shape. I love that this leaves your shoulders and arms bare. It has a very chic but sexy feel in that perfect Valentino way. Excellent condition

Fully lined in the same silk as the exterior but without the dots on the inner lining. Closes with a painted metal and nylon zipper at the back. Light boning trough the bodice and an Inner waist stay that hooks to close. Hand finished throughout with excellent construction.

Bust: 16" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Bodice: 9.5" from top of bodice to waist
Skirt: 41" from top waist seam, included 3: band at the waist to longest point of the hem at the back. The front curves up slightly

Modern Sizing Equivalent: XS-SML

Item# DD3002

Reference Photos: (1) Iman for the Valentino ad campaign shot by Horst, 1983.  /  (2) Vibeke Knudsen in Valentino by Giampaolo Barbier, Vogue Italia, 1983

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

This is one my own personal favorites of all the Bill Tice designs. I own a version of it myself that I wear endlessly and will always have on in my closet. I am very happy to have finally found documentation of it and that the documentation for it ended up being an editorial that featured Jerry Hall for Vogue in 1981. I have had versions of this in the shop before and every girl that has bought one through me has loved it. It is one of those fail safe pieces that you know is going to work every time you put it on. When I do get one in they tend to fly out the door. It is insanely sexy with an easy to wear caftan feel that is suspended from one single shoulder. It is made of a black liquid jersey that feels amazing on and has the added bonus of traveling very well. It is the kind of piece you can throw into your suit case and slip on with either flats or heels when you reach some far off destination and be instantly ready to go. The inner dress is long and slim and this is topped by a looser overlay that is cut on an angle. There is a high slit up one leg that shows when you walk or sit . The single shoulder ties into place and it is accented by his signature curved top stitch gold lame. Excellent condition

Unlined and slips on. Ties at the top of the shoulder. The easy fit allows it work on a variety of sizes. The gold is a true gold in person

Bust: 17-19" flat across from side seam to side seam
Waist: 16-18" flat across from side seam to side seam
Hips: 19-22" flat across from side seam to side seam
Length: 59" from shoulder to hem and you can adjust at the shoulder
Slit: 16" from hem to top

Modern Sizing Equivalent: XS-LRG

Reference Photo: Jerry Hall in Bill Tice. Vogue US, August 1981.

Item# DD2933

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

This is from the same time period as the other two Tice pieces that just landed in the shop so am confident to date it that same period where he was using that top stitched gold fabric to accent his pieces. The dress is very easy to wear and forgiving on most figures with its loose and voluminous cut through the body. Keep in mind that it does not mean that it is not as sexy as some of the others - it is just sexy in a different way. It is made of a black liquid jersey that feels amazing on and has the added bonus of traveling very well. It is the kind of piece that you can throw into your suit case and slip on with either flats or heels when you reach some far off destination and be instantly ready to go. It is has one single shoulder and sleeve and the other is left bare. The dress itself is long and full through the body with a high slit on the side opposite to the sleeve for balance. This lets some bare leg show when you walk or sit. The entire neckline is accented by his signature top stitch gold lame and this then ties right on the top of that one shoulder. Excellent condition.

Unlined and slips on. Ties at the top of the shoulder. The easy fit allows it work on a variety of sizes. The gold is a true gold in person. The open cut will allow it to fit pretty much any size

Sleeve: Approx 23"
Bust: to 25" flat across from side seam to side seam
Waist-hips: to 24" flat across from side seam to side seam
Length: approx 54" from shoulder to hem and you can adjust at the shoulder
Slit: 20" from hem to top of slit at the side

Modern Sizing Equivalent: OSFA

Item# DD2999

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 love when i get versions of this dress in the shop and I am happy to have finally found documentation of it for this round as well in not just one, but two ads in the 1980-1981 time period that it was produced. Versions have been worn by countless celebrities since. Lady Gaga wore a version, as have girls like Rachel Zoe & Nicole Richie and every girl that has bought one through me has loved it. It is one of those fail safe pieces that you know is going to work every time you put it on. When I do get one in they tend to fly out the door. The dress is insanely sexy with a halter style front that plunges to the waist and a back that is left completely open and bare. It is made of a black liquid jersey that feels amazing on and has the added bonus of traveling very well. It is the kind of piece that you can throw into your suit case and slip on with either flats or heels when you reach some far off destination and be instantly ready to go. The front has a high slit that shows when you walk or sit and I love the signature wide top stitch gold belt at the waist. The belt is attached all the way around the back and then ties at the front to cinch you in exactly to where you want. Excellent condition.

Unlined and slips on. Ties at the back of the neck and at the waist. Elastic through the front portion of the waist. The easy fit allows it work on a variety of sizes. The gold is a true gold in person

Bust: variable as there are no side seams
Partial elastic waist: 13-18" flat across from side seam to side seam
Hips: open
Bodice: approx 15" from natural neck to waist but can be tied to adjust the length if needed
Skirt: 44" from top of back waist to hem

Modern Sizing Equivalent: SML-LRG

Item# DD3000

Reference Photos: (1) Bill Tice for Swirl Ad. Vogue US, September 1980.  /  (2) Bill Tice Ad. Vogue US, September 1981.

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 really spectacular piece by Pauline Trigere that is one of her best documented pieces. It was photoed for Vogue in 1966 by Henry Clark while on location in Turkey. The fashion details in that issue described this piece: "High waisted drift of sun printed chiffon with a toga-scarf, and its own little body stocking to wear underneath. By Trigere of Staron silk". This editorial is instantly recognizable and it is a pleasure to have this piece in the shop. 

When you look at the photos from Vogue at first glance, especially the published one, you think this is a dress. However it is actually an extremely wide cut legged jumpsuit. It is also surprising in how it is constructed - it seems to lie half way between a dress and a half jumpsuit. Looking at the photos again the model appears to be wearing a nude halter underneath in the shots. There is a built in body suit inside and you can see that on the mannequin it is sitting too low. If you are short through the body it might come up just to, or over your bust line, otherwise you would wear it as a high waisted full pant. A long panel of fabric is attached at the front. This can be swooped up and over one shoulder. Again, referring to the shoot photos you can see that this is what they did. It  is constructed from layers of a printed silk chiffon that combine pink, pale mint and tangerine The silk used is almost weightless. It flows to the floor and when on you can barely tell that it is indeed pants as they are so wide and full. The front panel extends down past the hem and I have just scooped it up and over one shoulder. It is a very unusual design and will take some styling but it is a rare and historically documented piece. I purchased this years ago I and was told it came from a models closet so suspect that it might just be the actual piece used in this shoot. It is very beautiful. Excellent condition with one small note below.

Has an attached crepe bodysuit in a nude color. This zips up the back with a painted metal zipper. The silk over this snaps in place to close. Hand finished. Has a hand numbered tag inside #159. Slight wear to the fabric on the inside band of the waist where it hooks to close. 

Top band of waist/Underbust: to 14" flat across from side seam to side seam
Hips of inner body suit: 19.5" flat across from side seam to side seam
Length of inner suit: 23.5" from top of band to inner seams
Pant length: 45" from top of band to hem with a 4.5" turned up interior hem
The front attached fabric panel is 56" long from where it is inset to the hem

Modern Sizing Equivalent: XS-MED depending on how how you wear it

Item# DD2996

(1) Editha Dussler in Pauline Trigere, from the editorial Eastward to Eden, Vogue, December 1966. Shot by Henry Clarke. (2) Outtake from that same shoot.

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

This is one of my very favorite Gucci pieces from when Frida Giannini was the creative director of the house. It is also one of the most well documented pieces from this collection as it was featured in the ad campaign that year. It was Look 43 in the pre-fall show. Style.com review of the collection included these remarks: "Frida Giannini has gotten a lot of celebrity mileage out of her ode to the Jazz Age.....The designer's follow-up for pre-fall is a good deal more subdued, almost minimal at times. And over at Vogue the reviews mentioned the gowns: Meanwhile, the evening attire is lighter and simpler, possibly embellished with some subtle appliqués or floral fantasies, and baring the shoulders."

The dress has a definitive Grecian feel to it with its one shoulder silhouette. The 'jazz age' touch mentioned in the review above is apparent with that cluster of large crystal embellishments that run over the single shoulder. These are topped with a beautiful dragonfly pin. I love that it was made as an actual working pin so that it can be moved and placed where ever as you wish it to be on the dress, or you can wear it separately as a stand alone piece of jewellery. The cut is loose and easy through the body and it simply drapes over your curves. This makes it very comfortable to wear and very flattering once on. There is a high cut slit running up the seam of one leg so when you move or sit you get a flash of skin showing. Very chic and has a bit of a timeless feel to it. Excellent condition.

Unlined with a built in corset bodice that is lightly boned. This interior bodice has its own separate zipper and then there is a second, hidden set zipper on the side of the outer layer. Tagged a modern Gucci 40

Bust: to 17" flat across from side seam to side seam
Interior waist: 15" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 62" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD2258

Runway reference photo credit: style.com. / Ad Campaign photos by Mert & Marcus.

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