This is a wonderful dress from the fifties that is very striking and beautiful. All of the applique work you see has been placed and sewn by hand. The cost to replicate a dress like this today would be astounding. The exterior fabric is unusual in that it is an extremely fine black netting. This fabric choice has just enough weight to it to give the dress some structure and body, but is also very light and adds to the floating feel of the dress. Built under this is a more fitted bodice and the skirt has several layers of tulle between that top layer and the inner lining. The skirt is cut to be very full and you could easily add a crinoline underneath so you can get even more volume than what you see in the photos of the dress on its own. Even shown without a crinoline the dress still has a lot of volume and movement to it. Hand applied onto the dress from shoulder to hem is an enchanting design created by hand applied embroidered lace. This curves over the front and side of the dress in a beautiful trailing design. It also wraps around the waist and covers the upper back. It has been placed by hand to perfectly follow the curves of the dress and than hand stitched into place. Detailing each of the lace flowers are an edging of glossy iridescent finished ivory sequins topped with a glass bead. This adds the perfect subtle glimmer and highlights the lace even more. The waist is nipped in for shape and the skirt if full. Above that sits a shaped interior bodice that is a looser fitting overlay. This is a really outstanding example of the work being done during this time period. Excellent condition with some minor notes to review below.

The bust and skirt both has built in bodice and interior skirts made of a black silky rayon. The skirt has two additional layers of tulle between the top layer and lining. The dress closes with a back metal zipper. There is a very slight darkening to the lace on one spot at the side and perhaps a touch of darkening to the lace at the back. I photoed both areas for you and these are shown after the label photo. I see on pinhole to the netting by the hem but it is strong and stable and very minor. There is what looks like tape reside inside the dress under the label. Note that is does have straps on the interior lining but I feel that they were added later to hang the dress as they are cut very short. I tucked them in for these photos. All very minor and I am being extremely picky. The hand work in the dress is easily seen from the back as shown.

Interior Bust: 17" flat across from side seam to side seam, with a good C cup of space at the front
Waist: 12.5" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of dress to waist
Skirt: 26" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# E657

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 & Nature inspired designs that she loved flourished and became one of her signatures.

This dress is a beauty. Her caftans and dresses by her during this time period and of this quality are among my very favorites of her work. As mentioned above, it has the added bonus of having the coveted, earliest Janice Wainwright at Forty Seven Poland Street label. The dress is made up of a black stretch jersey that is set on angles tiers so it feels like it spirals around the body. This gives it a loose and easy feel when you wear it even though underneath it is a little more fitted then how it appears. The sleeves are cut out from the shoulders with an almost caped effect that also gives them a touch of a kimono feel. To further highlight the upper portion of the shoulder and sleeves she has added her signature embroidery. Rows of color mixed with giant embroidered flowers runs extensively across the top of the dress. I love that the panels in between the resulting rectangles of embroidery have been finished with a sheer chiffon rather then the opaque jersey. This means that you get a touch of transparency over each arm and it breaks the black of the rest of the dress. The front and back is cut in a high V that the embroidery accentuates. The body of the dress under the tiers is a long sheath with no real defined waistline. Silver sequins, each placed and sewn by hand, highlight the design at the top for the perfect finish. It is beautiful. Excellent condition

The inner dress under the tiers acts as the lining. It slips over the head to wear. The fabric does have some stretch.

Sleeves: 16" approx.
Shoulders: no defined seam
Bust: to approx 18" flat across from side seam to side seam
Waist: to 16" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 55.5" from shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3193

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

During the 1980s, Jenny Lewis "dazzled the fashion world with her exquisite Chinese silk gowns, elaborately embroidered, and her beaded and sequined dresses that recalled the gay abandon of the Twenties. Her rise in the fashion world was meteoric, and her shining creations, which cost almost as much as a Paris gown, were worn at the best parties in town. At the height of her career, Lewis starred at  fashion shows in Harrods, & Harvey Nichols attended by royalty the Governor of Hong Kong and the London elite. “My collection was the main focus of all the windows & my beaded dresses were the focus of the finales. I stood there thinking “these are my nights, my England,” recalls Lewis."

This is a gorgeous little jacket that displays what was loved about her work and is quite beautiful. The base of the jacket is a black silk and then onto this is that incredible design that you see. Iridescent beads and sequins are hand placed over the entire jacket and down each sleeve. The entire jacket is hand done and covered in the beads and sequins. The upper shoulders are densely covered and this carries around the back. On each side of the front and on the back are mystical creatures entirely executed from bead work. It appears to have never been worn, or worn very little and is a real little beauty. Excellent condition.

Fully lined in a black silk that is hand set. It closes with tiny silk covered snaps tone that run down the front. Light padding in each shoulder

Sleeves: approx 22"
Shoulders: they extend slightly beyond the natural shoulder and are approx 16"
Bust: 17" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Length: 22" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# S843

Quote credit from jennylewisartist.wordpress.com

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

George Halley started at Charles James who said of the young designer that he 'was a genius at draping'. By the time Halley opened his own atelier in 1966 he was well on his way to fame. He won the Coty Award in 1968 and his work is on par with couture. He is one of my personal favorite designers. In 2015 I included him in my list of 'The 10 Designers to Add to Your Vintage Collection' for Harper's Bazaar, saying; 'If you want old school glamour and to feel like Hollywood royalty, look to this under-the-radar label outside of vintage circles... A Coty Award winner in 1968, Halley was one of the great American Couturiers and his work always feels grand and elegant. Think polished silk and fused velvet's and embellishments that have a touch of the Grand Old South to them. Silhouettes to look for are his sweeping ball gowns and hostess gowns. Rich fabrics and rich colors are used with a master's hand. Feathers, crystals, hand painted fabrics and fine workmanship are all things to expect from a George Halley gown. Slipping one on instantly makes a girl feel special and important. These are the showpieces and while you should expect to pay for the quality and beauty of what you get they are absolute jewels'. The best of his work are the pieces that show his love for Old Hollywood glamour combined with his love for over-the-top opulence. Women's Wear Daily called him 'a designer in a lovely world of his own'.

This gown is really quite extraordinary and almost outrageous in its level of opulence. It is constructed to couture standards and the workmanship and quality of materials used in its construction are amazing. The impact of the color combined with that refined and elegant cut are just wonderful. A George Halley design always starts with his fabric and embellishment choices and here he has gone above and beyond. The skirt is made from rich silk with a satin finish in a purple lavender color. It is set higher up the bodice just under the bust and has tremendous volume of fabric. An added, attached silk organza underskirt helps to hold the shape and fullness you see but most of it is created by the deep inverter pleats that sit at the back and the soft wide gathers at the front. I love the huge soft bow that sits at the front. This is attached to a band of matching silk that is attached partway around the waistline and then snaps into place on the other half, meeting and hooking into place under the bow. The hidden details are exquisite with each snap covered in silk and set into place by hand. The bow draws the eye up and assists in creating that beautiful silhouette. The bodice is a work of art with a floral design made entirely of heavy glass crystals, beads and rhinestones. These are set by hand and follow the pattern of the pale lavender lace underneath. The bodice has a high neck whose collar is densely applied with hand placed jewels. The beautifully cut sleeves widen as they near the wrist and each has its own densely beaded finish. In person the color is softer and has less of a contrast then how the light has made it feel. The crystals catch the light when you move. It is very heavy because of the dense glass bead work on the bodice but once on, somehow feels extremely comfortable. This is a remarkable gown that would be impossible to replicate in our modern work. This is almost certainly a one-off and a wonderful find. Excellent condition with two small notes to review below.

The dress has an attached inner stiffened organza skirt and the outer skirt is interlined with a matching purple silk. The bodice is fully lined in a hand set inner cream silk and layer of nude silk sits between that and the outer embellished lace layer. It closes with a hand set back zipper, The bow is partially attached and on the part that it is not sewn into place, it closes with hand set silk covered snaps around the other half of the waist and then hooks into place under the front bow. Each sleeve has a hand set zipper at its end. There are two small breaks in the netting close to each other on the back of one shoulder, see photo after the label photo. There is also a variation to the color under the folds of the pleats on the skirt, the silk is a darker shade of purple all along and under each fold. You do not see this when it is one as it is hidden under the folds. The color is also very soft along the transition and very even so it looks deliberate in many ways. Neither of these notes detract and the gown is extraordinary and very beautiful.

Sleeves: 14"
Shoulders: 23"
Bust: 16" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 11" from top of bodice to waist
Skirt: 47.5" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3152

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 elaborately sequin and bead covered dress is even better in person.  The workmanship on it is outstanding with a dense, hand applied application of large black paillettes, smaller sequins, beads and curving ropes formed from a 3D application of seed beads that break up the design. These cover every square inch of the fabric and have been meticulously placed by hand onto a black stretch knit base. Once on it hugs the body in a way that is very flattering. The dress has a very simple cut. It is basically a chic sheath silhouette with a slightly nipped in waist, a barely there suggestion of a cap sleeve and a V neck. The back is also finished with a V cut but it is cut to dip lower then the front does. The skirt is cut long and lean. The hand work down on the dress gives it a 3-dimensional quality as they are set raised up from the knit. Glossy black flowers are formed from the combination of the various beads used and thick ropes of twisted black seed beads loop and curve through the design from top to bottom. Everything has a high gloss finish and I love the way it gleams in the light. It is also a great wearable size and the knit base makes it feel fantastic once on and extremely comfortable to wear. Excellent condition.

The bead work and sequins are hand applied onto a soft knit base that I believe to be cashmere or a cashmere mix. It closes with a back metal zipper. The edges of the slit are finished with a black silk panel of fabric but it is otherwise unlined. The knit gives it quite a bit of stretch and the measurements give below are the comfortable range lying flat. You may be able to get a bit more then that if needed.  It has the high end department store, Neusteters, label in it but no longer has its ioginal designer label present

Bust: 18-22" flat across the back from side seam to side seam
Waist: 14-17" flat across the back from side seam to side seam
Hips: 18-22" flat across the back from side seam to side seam
Bodice: 15" from shoulder to waist seam
Skirt: 37" from waist to bottom hem

Modern Sizing equivalent: MED-LRG

Item# E416

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

Look 44 on the Fall 2006 Runway was worn by Natasha Poly and I have included that reference photo here so you can see how the dress will look on the body. Michael Vollbracht  was the designer of this collection and he told Vogue that he was looking to 'channel' the spirit of the label's namesake. Mr. Vollbracht only designed for the label from 2003 - 2007. I think this was one of the prettier pieces he designed while there and does indeed have that Blass feel to it. The dress is strapless with a more fitted inner dress that hugs the bodice and skims over the hips before gradually flaring out as it nears the hem. The hem of this inner dress is finished with a wide pleated detailing that gives a little extra texture though the top layer and also helps to add weight to hold the shape. Over this is a synthetic net layer that has a huge floral design covering its surface from bodice to hem. The flowers are made up of a black cord and a matte satin and this combination gives them a pretty 3D raised effect off of the netting. The back of this top layer is cut longer to form a small train and the netting also helps to give it a more ball gown feel with the extra volume created. There are little loops and buttons on the back so you can lift the skirts off the floor if you wish. It appears to have never been worn. Excellent condition

Fully lined and closes at the back with a zipper. The net layer closes over the zipper with a series of hidden snaps. The inner bodice is lightly boned and there is an inner waist stay that hooks to close. Fully lined in a silk. The exterior fabrics seem to be a combination of silk and synthetics. There are little loops and buttons on the back so you can lift the skirts off the floor if you wish. Tagged a modern 4

Bust: 16" flat across from side seam to side seam
Waist: 12.5" 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
Skirt: 42" from waist to inner hem, 48" to back train if left unbuttoned and down

Modern Sizing Equivalent: XS-SML

Item# DD3140

Reference photo: Fall 2006 Bill Blass runway, Look 44, Model: Natasha Poly

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 stunning and rare gown was designed by Bob Mackie. Mackie was best known for dressing Cher and for his undying love of opulence and bead work, both of which he incorporates heavily into the best of his designs. He worked for both Edith Head and Jean Louis prior to working as a costume designer and co-designing with Ray Aghayan. That led to his incredible journey in designing for stars like Cher and Diana Ross for many years. In some ways he and his creations defined their careers and that era of glamour. I think he secretly always designed for the big screen and the bygone glamor of Hollywood as his work is always over the top and extravagant.

This is an amazing gown that is heavily beaded and extremely sexy and flattering once on. The base of the gown is made of a black silk chiffon that has hundreds of vertical bands made of blue and black beads laid out in curving rows that follow the lines of the dress. Mixed into this are huge pink Orchids that curve up the front of the dress, highlight the lower half and sit on each sleeve. There are also flowers on the neckline and even on that dips out an past the scoop of the back so that the beaded flow sits on your bare skin. These are made up of beads and sequins in a mix of pinks and purples. Iridescent green tube beads form long trailing stalks and leaves. This combination of the glass tube beads and sequins give the gown an extra layer of texture and glamour as every inch of it catches the light and sparkles. As a result the dress is very heavy off the body because of that extensive bead-work, and yet once on the body it lies and drapes in a way that it is balanced and not at all unwieldy. The bodice is cut to skim over the chest with a wide cut neckline. The sleeves are cut wide and straight so that there is enough area to really show off the orchid design that trails down and around each sleeve. The back plunges in a V with that overlay flower that sits off on your skin as mentioned above. I love how the waist is gathered in by hand across the back just slightly so that there is a bit of shape created but at the front its left with no stitching added so that the front remains a ling unbroken sheath. The skirt is incredible and is cut with a high curve so that one side falls to full length and then other curves up to show the leg. The effect of this is far more dramatic and fabulous on a real body and it really shows off the legs. If you even remotely love it in the photos you will dance when you see it in person as it is so, so, so much better in real life. Extremely well made and made to demi-couture standards. It is so well made I think you could even wear it with the V to the front and it would still work. Excellent condition.

Fully lined in a black silk chiffon crepe including the sleeves. It closes with a hand set back zipper. Hand finished throughout. Incredibly heavy as it is fully beaded from top to bottom with glass beads but feels balanced when on and comfortable. Perhaps the occasional bead missing but nothing that detracts - I see a couple missing beads at the back near the hem and a bit of a row on the back of the curved hip side. You would never notice this when the dress is on.

Sleeves: 24"
Shoulders: 14.5
Bust: to 18" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Bodice: 15" from neck to waist
Skirt: 43" from waist to longest point of hem. 16.5" from waist to highest point of the curved side

Modern Sizing Equivalent: XS-SML

Item# DD3127

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 Balmain transformation was definitely begun while under the tutelage of Christophe Decarnin. He was the designer to bring "more hard rock and punk" to the label, which has continued to the present day under Olivier Rousteing. The review from Vogue's Nicole Phelps that year stated: "And as promised, Spring's haute hippie feathers, fringe, and tie-dye were replaced by an all-Billy Idol soundtrack and enough leopard-print chain mail, python-pattern denim, and crystal-embroidered lightning bolts to make you wonder if there was anything at all left on the shelves at Trash and Vaudeville. To be fair, Decarnin's creations are much finer than the East Village emporium's, but they appeal to a similar kind of chick, one with a killer body and an active nightlife." This is the gown that closed the show that year and is perhaps one of the most memorable and significant pieces that he designed or the house. It was produced in very limited quantities and it is a pleasure to have one in the shop.

The gown is all about movement and showing off the body in it to its best advantage. Inside there is a fitted and shaped corset that runs fro bust to hip so that you are molded and shaped to confirm to the silhouette Decarnin wished the wearer to have. It cuts across the bust with inner built in cups to give you lift and shape. An incredible zig zag made up of crystals shape and define the body further. This lightening bolt then extends up and over the shoulder to create a single strap. At the hips the dress flares out into an extended train of fabric with a mix of leopard spots and zebra print for contrast. The panels that make up the skirt are attached only from where they flow out from the body of the dress. This leave slits up to the high upper thigh that open and flash your full leg when you walk, move or sit. The train is long and dramatic. You can see how amazing this all is once it moves by the runway pics that I have included for reference. Excellent condition with one very minor thing to note below.

It closes with the signature chunky silver zipper that Balmain uses and this is set along a curved seam so that it keeps with the form fitting construction of the dress. The inner bodice is constructed from a nude colored lingerie stretch corseting nylon fabric that has built in cups and is finished by hand. The fabric is hand draped over this and the crystals and lightening bolt attached by hand.  Tagged a 40. Note that there is one small repair along the hem of the trained skirts. I have included a photo after the label photo. It is very minor and with the extensive fabric making up the trained parts of the skirt, it is something you would never see unless you lay it out flat and look for it as I did. There are many hand finishes through the dress. There is perhaps the very occasion light line in the silk from a very slight thread snag - this is natural occurrence and so very minor but mentioned for accuracy. The inner foundation garment does have some stretch I have provided the range laying flat. You might be able to squeeze a bit more on the upper end when on a real body

Bust: 15-17" flat across from side seam to side seam
Waist: 11.5-12.5" flat across from side seam to side seam
Hips: 16.5-17.5" flat across from side seam to side seam
Bodice:  33" from top of shoulder to bottom of inner foundation garment
Skirt: 28.5" from bottom of inner foundation garment to shortest hem, 53" to the longest hem

Modern Sizing Equivalent: XS-SML

Item# DD3115

Reference Photos: F/W 2008 Balmain Runway, Final 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.

The Colifichets boutique was found on the ground floor of the Dior Haute Couture atelier at 30 Avenue Montaigne in Paris. It allowed Dior to expand his clientele beyond his Haute Couture clients. The pieces were still made in house and to demi-couture standards. I found reference to the boutique as early as 1949 in article giving the history of when Dior conceived his first lipstick. That idea was conceived as a sort of limited-edition 'gift with purchase', and was sent to the most loyal clients of his Colifichet boutique as a Christmas present that year. This is a beautiful example of the workmanship coming out of the boutique. It is not perfect but still a very rare and important piece of Dior's early history.

The dress is made from a rich ivory silk that holds the shape well. The bodice is cut with a high V at the front and the back gently scoops to leave the upper back bare. The waist is set high just below the shaped and formed bodice and the skirt is cut to angle out as it nears the hem. The bodice has an intricate design done in a combination of crystal rhinestones, dangling drops, and faux pearls. The edges of the bodice are densely covered and all the edges are finished with dangling teardrops. Every piece is hand set and applied and you can clearly see the hand done work on the back of the fabric. The interior is fully finished with a boned and cupped inner corset that hooks to close independently under the exterior zipper.

The dress is far from perfect and is suitable for the collector as is, or for someone who would be willing to take on a restoration project. I note the following flaws: faint discoloration and staining scattered over the skirt. These might be lightened out by a specialist. They are faint and if you don't mind small flaws these could be considered negligible. On the bodice there are some missing tear drops and beads here and there. Not very many and a repositioning of some of the other beads and crystals would resolve this. Inside, some of the metal stays that create the boning are poking through at the ends of this silk pockets. Again a minor issue to resolve. The interior of the inner corset is otherwise very clean and unaffected. The real flaw is the staining under each arm. The arms would have to be re-cut. The good news is that the marks do not go terrible deep into the dress from under the arms so should be doable without completely compromising the dress. I have chosen to sell it as found for two reasons. One, the collector may wish it to be in its original, as found  state regardless of the flaws, and two, for the girl buying to potentially wear, it makes more sense to have the repairs done to fit her specifically.

It is fully lined in an ivory silk and part of the lining has its own hook and eye closure. The exterior silk closes with a back, painted metal sipper. The  inner corset closes with hook and eye. The tag is numbered. Please make sure to fully read the above paragraph before purchasing. This gown is sold as a final sale and as found

Bust: 15" flat across from side seam to side seam, removing the inner corset might give you another inch or two. The cups would fit up to a B I think
Waist: 11" flat across from side seam to side seam, removing the inner corset might give you another inch or two
12 to 21" flat across from side seam to side seam
Bodice: 12" from top of shoulder to lowest part of empire waist
Skirt: 41" from lowest part of empire waist to hem

Modern Sizing Equivalent: XXS to maybe a XS if inner corset was removed or altered

Item# DD3089

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 Bellville Sassoon label was founded in 1953 by Belinda Bellville but did not officially take on the Bellville Sassoon label until 1970 when David Sassoon, who had been with the company since 1958, took over most of the designing. In 1987, Irish designer Lorcan Mullany joined the company and took over designing and the brands labels changed to reflect this. The Sassoon label became internationally known when Princess Diana began wearing pieces quite extensively. Countless other celebrities wore the label as well such as Elizabeth Taylor, Jackie Kennedy, Audrey Hepburn, and Madonna.

The is the perfect princess dress and is absolutely wonderful with its dramatic and full cut through the skirt and densely beaded bodice. The bodice is fitted and the waist nips in. The bodice is cut to be barely there and is covered in a dense and elaborate combination of beading, sequins, applique work and metallic silver & embroidered ribbon that gives it a 3D feel. This is suspended from two tiny straps . The waist begins just under the bust line and under that is is gathered and fitted so that you are completely nipped in to create an hourglass shape. The illusion of the smallest possible waist is further exaggerated by the tremendous volume of tulle that forms that dramatic and extra, extra full skirt that you see. There are five full layers of tulle that make up that skirt and the inner most layers have additional lower ruffles to add even more volume. That fantastical fullness this creates is the perfect balance to that fitted top portion of the dress. I love that the bead work is done in a black, ivory and silver, but the skirt is actually a deep, deep navy color. It is an unusual color combination that works. It is beautifully made and so pretty in person. Excellent condition.

Fully lined in a black silk and closes at the back with a metal and nylon zipper. tagged a UK 12 but it is very tiny. It is probably best suited for a size 0 as it did not zip fully on my size 2 dress form (it will of course close perfectly on the proper sized girl). Appears to have never been worn

Bust: 15" flat across from side seam to side seam
Seam under bust: 13.5" flat across from side seam to side seam
Natural waist: 13" flat across from side seam to side seam
Hips at the inner lining: to 20" flat across from side seam to side seam
Bodice: 10" from top of bodice to seam under the bust
Waist Banding: 9" from seam under the bust to lowest seam where skirt begins
Skirt: 39" from lowest seam where skirt begins to hem

Modern Sizing Equivalent: XXS-XS

Item# DD3088

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 Sorelle Fontana label was started by three sisters in 1943. They prodiuced high end Alta Moda Couture and quickly beacame a favorite of the jet set with stars like Elizabeth Taylor, Audrey hepburn, Ava Gardner, Grace Kelly and Jacqueline Kennedt Onanssis among their clientelle. They were an integral part of establishing the high end "Made in Italy" tradition still known to this day and were one of the forefronts of the tradition of the independent Italian couturier.

This dress is is a spectacular example of the couture work being produced by the Sorelle Fontana atelier during this time period. Rarely do such fine examples of their work from this time period, with this level of glamour, come to market anymore. The cut is simple but dramatic. It is cut in a supermodel long sheath that was made to hug every curve but without clinging. Rather it creates a long lean silhouette that suggests the body underneath and gives the illusion of height. The neckline is cut simply at the front and the back with just the a shallow scoop. The base fabric is a stretch knit  and this glides over the bust and waist. The hips are cut with a slight curve to follow the curve of the body and the skirt falls to the floor from there. The entire dress is densely covered with hand placed iridescent blue sequins. These are so heavily applied that they overlap each other and cover the entire surface. Worked in among the sequins are a looped design that gives the dress a secondary pattern. Over this are hundreds of hand done beaded tassels that follow those curving bead detailing. Each of these dangle a full four inches off the dress and are finished with two faux pearls. The effect that these create whenever you move is jaw dropping. It is amazing. Excellent condition.

Fully lined in a blue silk and closes with a back metal zipper. There is another good 5" turned up inside the hem if you need more length. All the sequins, pearls and beads are completely hand sewn into place. It weighs several pounds. There are some minor repairs to the inside lining near the inner hem but of course these are not seen when on. The stretch knit base will allow for a range of sizes. You could probably get a bit more then even the greater range below.

Bust: 17-19.5" flat across from side seam to side seam
Waist: 16-18" flat across from side seam to side seam
Hips: 18-21" flat across from side seam to side seam
Length: 57" from top of shoulder to hem

Modern Sizing Equivalent: SML-LRG

Item# DD3060

Reference photo: Cherie, Owner of Shrimpton Couture, by Erin Leydon

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

Oscar De la Renta began a partnership with the fashion house of Jane Derby in 1965. Jane Derby died shortly after and in 1966 the first labels that bore only the Oscar de la Renta appeared. This label that had Oscar de la Renta for Jane Derby was the label used in those first early years according to the research done by Kent university. That gives us a precise window in which to date this dress and also means it is from the very beginning of his career - prior to Jane Derby he was working under and for other labels but not doing his own accredited design work. The dress is amazing and I am besotted with it. It is the second time I have had a version in the shop, the first time being a blue and silver dot fabric. This time around the dress is a pretty and feminine soft pink silk satin. I love the shape and the simple cut that although it may be simple, the elements used are so fabulous that it ends up being a piece that could still hold its own today. The fabric is sublime and the perfect shade of baby pink. It contrasts wonderfully with the heavily embellished silver accented neckline, waist and hem. The neckline is cut onto a deep V at the from that plunges right down to the embellished waist. A wide band of silver lurex cording, faux pearls and large crystal rhinestones follow the V of the neck and then circle and wrap around the waist. Oscar also embellished the entire hem with this same silver detailing. The photos do not come close to doing it justice - it is even more spectacular in person. Excellent condition

Fully lined in a blue silk and closes with a side painted metal zipper and hooks to close at the top of one shoulder. Hand finishes. Note that it has a square of fabric that was originally tacked into the base of the V for extra modesty. The original owner removed it but kept it. It will be sent with the dress.

Bust: to 18.5" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Bodice: 13" from neck to waist
Skirt: 44.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3052

Reference Photo: Cherie, Owner of Shrimpton Couture, by Erin Leydon.

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

This Malcolm Starr silk chiffon gown is wonderful. The unusual color combination of that soft pink combined with a soft pale yellow is brilliant and the two colors really compliment each other. The dress has a simple and classic cut - it is a simple sheath with a seamed, easy waist line and a long skirt that cascades to the floor. It is sleeveless with a scooped front and slightly lower scoop at the back. The bodice is cut to draping softly over the bodice with an inner foundation that leaves the upper shoulder area covered only in one layer of the silk chiffon. The waist is seamed but cut loose and generously and the skirt cascades to the floor in a column of silk under that, slightly widening out as it nears the hem. The chiffon has a pretty abstract pattern screened onto it in soft lilacs and pinks on an pale yellow. Onto this and following parts of the pattern glass tube beads, paillettes and crystals with a more dense embellishment circling the waist. All are hand applied. The effect is beautiful. This beading is done from shoulder to hem and gives the gown an added bit of high glamour while still keeping that soft, feminine feel. Excellent condition.

Fully lined in a yellow silk. It closes with a painted back metal zipper. Hand applied bead-work and finished.

Bust: to 19" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Inner hips: 19" flat across from side seam to side seam
Bodice: 14" from neck to waist
Skirt: 40" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3054

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

There are 4 or 5 Burrows dresses that I always look for and this dress is one of those. The dress is made out of a fine, slinky, red jersey. I have seen the top of these cut in a couple of different way and on this one it ties around the neck leaving the shoulders bare. The dress falls to the floor from there in a beautiful bias cut that and ends with an angled, asymmetrical hem that leaves one leg more bare. The edges of the dress are finished in his signature lettuce hem seaming. The front bodice is where all the glitz and glam is and it is finished with a design that is done in sequins, seed beads and tube beads that pop against the red. All of the bead work has been applied by hand. You can clearly see this is the case on the back side of the fabric. Burrows was the first African American fashion designer to really achieve international recognition for his work. He won three Coty awards; in 1973, 1974 and 1977. He was also one of the five American designers to show at Versailles in 1973 when America was pitted against the French couturiers. Excellent condition

Recently, the first major examination of Burrows' work was held and was aptly titled; 'When Fashion Danced'. Here is what the museum said of his work: "Stephen Burrows: When Fashion Danced looks at the period spanning the 1970s when Stephen Burrows’s meteoric rise to fame made him not only the first African-American designer to gain international stature, but a celebrated fashion innovator whose work helped define the look of a generation. With vibrant colors, metallic fabrics, and slinky silhouettes that clung to the body, Burrows’s danceable designs generated a vibrant look that was of a piece with the glamorous, liberated nightlife of the era. Through photographs, drawings, and original garments, the exhibition will trace Burrows’s evolution from creating eclectic looks for his friends in the 1960s to his work with the chic 57th Street retailer Henri Bendel to the floor of Studio 54, as he dressed such 70s style icons as Cher, Liza Minnelli, and Diana Ross."

Unlined and slips over the head with no closures. Tagged a vintage 4 but please check actual measurements. The fabric does have stretch so will accommodate a range of sizes - the comfortable range of that stretch when laying flat is noted in the measurements.

Bust: variable as there are no true side seam
Waist: 15-19" flat across from side seam to side seam
Hips: 19-22" flat across from side seam to side seam
Length: approx 58-60" from top of shoulder to longest point of hem, 40-42" to the shortest part depending on high you tie the neck.

Modern Sizing Equivalent: XS-MED

Item# DD2802

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 amazing example of Stephen Burrows work and it feels as relevant today as it would have when it was made. The dress is made of a fine, slinky red jersey that is suspended from two tiny straps at the shoulder and falls from there in a beautiful bias cut that and ends with an angled, asymmetrical hem that leaves one leg more bare. The edges of the dress are finished in his signature lettuce hem seaming. It is the bodice that is truly spectacular - it is fully hand beaded across the bust and down the center front with an explosion of bright tube beads, seed beads and pearls. All of the bead work has been applied by hand. You can clearly see this is the case on the back side of the fabric. Burrows was the first African American fashion designer to really achieve international recognition for his work. He won three Coty awards; in 1973, 1974 and 1977. He was also one of the five American designers to show at Versailles in 1973 when America was pitted against the French couturiers. The dress presents as great condition but does have some flaws. Please review the condition notes below

Recently, the first major examination of Burrows' work was held and was aptly titled; 'When Fashion Danced'. Here is what the museum said of his work: "Stephen Burrows: When Fashion Danced looks at the period spanning the 1970s when Stephen Burrows’s meteoric rise to fame made him not only the first African-American designer to gain international stature, but a celebrated fashion innovator whose work helped define the look of a generation. With vibrant colors, metallic fabrics, and slinky silhouettes that clung to the body, Burrows’s danceable designs generated a vibrant look that was of a piece with the glamorous, liberated nightlife of the era. Through photographs, drawings, and original garments, the exhibition will trace Burrows’s evolution from creating eclectic looks for his friends in the 1960s to his work with the chic 57th Street retailer Henri Bendel to the floor of Studio 54, as he dressed such 70s style icons as Cher, Liza Minnelli, and Diana Ross."

Unlined and slips over the head with no closures. The fabric does have stretch so will accommodate a range of sizes - the comfortable range of that stretch when laying flat is noted in the measurements. There are a series of repairs - one to the mid back, several running down the seam and along the hem of one side and the back and a couple teeny ones near the front hem - all photoed. There is is a small spot near the beading at the bodice and one at the front hem. Where the repairs are at the back there is light scuffing to the jersey and some small marks. These are normally priced at $1200 so the pricing reflects condition. The dress presents extremely well and once on you would not notice the flaws it does have. 

Bust: 15-18" flat across from side seam to side seam
Waist: 15-17" flat across from side seam to side seam
Hips: 18-20" flat across from side seam to side seam
Length: 56" from top of shoulder to longest point of hem, 36" to the shortest

Modern Sizing Equivalent: XS-SML

Item# DD3040

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

Richard Blackwell launched his label in the late 1950s and even at that time his dresses sold for between $800 and $1000 (or up to $10,000 in the modern terms). He dressed many of the big stars of the day including Jane Russell, Dorothy Lamour and Jayne Mansfield. His 'custom' line was the pieces that were made to order, and were one of a kind pieces that were fitted to a specific client in the couture tradition.

This dress is from the custom part of his atelier and is a wonderful example of his work. It is a wonderful dress and rarely do such fine examples of this time period, and with this level of glamour, come to market anymore. This comes directly from the original client who kept it on pristine condition. The cut is simple but dramatic because of the amazing front inset and embellishment. The dress is cut in a simple, long sheath black sheath and the black is a medium weight wool crepe jersey so it holds the intended shape very well and gives the dress structure without having to have a lot of seaming. The sleeves are long and straight. The dress skims over the torso and glides into a touch of shape at the waist. It then falls to the floor in a column that gently widens as it nears the hem below that. The front of the dress has a nude silk inset that is backed by an opaque silk so it gives the illusion of being see-through from a distance but you are entirely covered. This is then densely covered in an angular pattern created by hand placed large glass crystal rhinestones, clear seed beads and rows of faux pearls. They have a raised 3D effect and give the otherwise simple dress a high level of glamour. The illusion that it is slit to below the hips adds a touch of sexiness despite the wearer being completely covered. It is amazing. Excellent condition.

Fully lined through the body in a nude colored silk with the sleeves left unlined. It closes with a back, hand set, painted metal zipper. The embellishments are hand placed

Sleeves: 26"
Shoulders: 16"
Bust: to 21" flat across from side seam to side seam
Waist: to 18" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 59" from top of shoulder to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3037

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.

This dress has a bit of a Loris Azzaro Feel to it with that wonderful jewelry collar. At first glance you would almost think that it was one of his his signature pieces. It has that same looped keyhole type neckline with heavy embellishment to it like some of his most famous dresses did. This slightly simpler version is made from a fluid silver-grey jersey that drapes fantastically. The color perfectly off-sets the detailing at the neck. It is gathered up and around the bodice with the gathers there converging into the center keyhole. The upper shoulders and back are left bare. The skirt cascade from just below the bust line to flow to the floor, gently widening out as it nears the hem. The neckline is of course, the center piece of the dress. It curves up and around the neck and the straps are completely encrusted with densely set faux pearls, rhinestones and beads. Presents as excellent condition with a small note to review below

Fully lined in a matching grey silky rayon and closes at the back with a painted metal and nylon zipper. There is some light scuffing/grubbiness along the hem and the occasional very faint mark on the jersey. A couple of beads missing near the hook and eye of the halter that you can see in the label photo. Nothing that detracts when on but present when laid out flat and inspected.

Bust: 16-16.5" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Hips: open
Bodice: approx 11" from neck to empire waist
Skirt: approx 49" from empire waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD2386

Reference Photo: Cherie, Owner of Shrimpton Couture, by Erin Leydon. 

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

Koos Van den Akker started his career as an apprenticeship with Christian Dior in the late 1950s. This early exposure to Haute Couture shows in pieces like this. This particular dress is exceptional and a real testament to his beginnings in the world of couture. He was a designer that started from the fabric, allowing it to influence the final design. Here he uses the semi-transparency of the beads on a fine netted lace to shape and mold the body underneath. The lace used is a combination of a red and black. Hand sewn onto the black portions of the lace are thousands of tiny black sequins. These are set into place to follow the pattern of the lace and they cover the dress from shoulder to hem. Covering the red parts of the design are tiny seed beads, again hand applied by the thousands to the lace net below. The combination of beads and sequins catch the light wonderfully when you move. The dress itself is fitted through the body and the sleeves are set so that the the shoulders are left bare. The dress is lined in a layer of fine black silk that gives you coverage through the body but leaves the upper neckline and sleeves semi-transparent. The semi-transparency is also used in the deep V in the back and for the last couple of inches of the hem. The workmanship is very fine and the is truly exquisite in person. Excellent condition

Lined in black silk and closes with a hidden set painted metal and nylon zipper. Fully boned through the torso for support.

Shoulders: no defined seam
Bust: to 17" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: 17-18" flat across from side seam to side seam
Length: 33" from top of shoulder (where it sits off shoulder) to hem

Modern Sizing Equivalent: XS-SML

Item# DD2305

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

John Anthony opened his label in 1971 and during the 1970s he produced some really outstanding pieces at a couture level, that were sleek, sexy and sophisticated. His business was all done on a made to order basis. That means the majority of pieces found are a one-off, or if there are similar pieces, very few of each piece exist. This personal attention to each dress is clearly seen in the workmanship of his pieces and his work is a personal favorite. This dress is wonderful and is constructed from a fine brown colored lace that is placed over an double layer of nude silk chiffon. This layering effect gives it just enough coverage to keep it from being see-through but keeps it very light and easy to wear. It also give the allusion that the wearer has one less then she actually does. The combination of lace and silk give it a slight lingerie inspiration feel that i love. It is constructed to demi-couture standards and is hand finished with exquisite touches. The lace is detailed with clusters of round copper colored beads that are sewn into place by hand and scatted over the entire gown. The interior bust is supported by a built in bodice that is cleverly concealed by another layer of silk so seems to not exist when on the body. It hugs and molds to the body and the strapless silhouette is very flattering. The legs are given extra attention with a high cut side slit. All of the edges have the lace peaking over the inner seam work so you can see the scalloped edges. Excellent condition.

Fully lined with two layers of a fine nude colored silk chiffon and an additional layer of tissue silk through the bodice. It closes with a hand set back painted metal zipper and the exterior lace closes over that and secures with hook & eye. Boning through the bodice. Hand sewn finishes and the bead work is hand placed and hand sewn.  Note that is does fully close at the back on the proper sized girl

Bust: 15" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Length: 50" from top of bodice to hem

Modern Sizing Equivalent: XS

Item# DD1578

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

John Anthony opened his label in 1971 and during the 1970s he became known for making pieces that were sleek & sexy but still felt sophisticated. His business was all done on a made to order basis. That means the majority of pieces found are a one-off, or if there are similar pieces, very few of each piece exist. This personal attention to each dress is clearly seen in the workmanship of his pieces and his work is a personal favorite. This dress is exceptional and a wonderful example of his work. It is made from a black silk jersey that allows it to drape beautifully on the body. It's genius lies in its cut that allows for all of your curves to show but you are still covered from head to toe. I love the nod to Old Hollywood glamour that is has with its ruched gather of fabric on one hip and full covered cut. It is cut to skim over the body in a sheath to the floor. The one hip has that extra fabric and a high cut slit that reveals your leg when you walk or sit. Each sleeve is cuffed and poufs out over each one. The neckline is set high and cut straight across. This highlights the hand beaded bird that seems to have been captured in mid-flight. A second bird arches down the hip just above the gathered fabric there. The placement and execution of the birds are fantastic and they add a sense of high glamour to the dress. It is really incredible. Excellent condition

Unlined and closes with a back, hand set zipper. Each cuff buttons to close. The birds are hand beaded onto the dress. Appears to have been worn very little if at all. Hand finished. The fabric does have stretch so it will fit a range of sizes

Sleeves: 26"
Inset shoulders: 13"
Bust: 15-19" flat across from side seam to side seam
Waist: 14-17" flat across from side seam to side seam
Hips: 17-20" flat across from side seam to side seam
Length: 58.5" from neck to hem
Slit: 32" from hem to top of slit

Modern Sizing Equivalent: XS-MED

Item# DD2973

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