This Roberto Cavalli dress is from the Spring 2007 collection and is gorgeous. It's twin walked the runway that season and I am happy to have a video clip from the show so you can see how spectacular this dress moves when on the body. The first half of the Spring 2007 show was surprisingly soft and romantic for a Cavalli show and I loved the pieces. This was look seven for the show and I think it was one of the most beautiful dresses of that collection. The dress comes to me from the closet of a former stylist and it was never worn. It is exceptional and extremely beautiful.

The dress is made from a light silk cotton gauze that combines its natural off-white colour with a pale blue that hints at turquoise. Onto this is a secondary pattern that is hand-painted onto the fabric. You can feel the paint on the fabric and this extra layer gives the dress added texture. The bodice is made from two simple triangles that extend out from the waist and tie behind your neck with a long gauze straps. I love how the blue design on them comes out from the bottom of each triangle to highlight the shape of the bust. These are then backed in extra layers of silk so that you can safely wear the dress with nothing underneath. Under that is a band at the high set waist for definition and shape. This tapers down to almost nothing at the back as it curves around your waist. The skirt is remarkable. It is im its original supermodel uncut length. It is constructed so that when it reaches just above the bottom hem it is caught up and gathered up in under itself. A seam holds it in place and then the very bottom of the skirt extends out from under that. This gives the skirt incredible fullness and movement. When you are standing still you still get the feeling of fullness but when you move this construction technique allows the skirt to billow out around you. The fabric is so light and airy that when you walk it creates this incredible floating sensation. As good as it looks here it only really comes to life once on. The halter front leaves the back completely bare so that you your entire back is exposed and bare. The design that runs over the dress has a soft, romantic feel to it and the pale turquoise on the natural linen colour is spectacular. It is an incredibly beautiful dress and no matter how good it looks in the photos the sensation and tactile feeling of the fabric and lightness when you have it in hand is just phenomenal. It is a beautiful and glamorous dress that is red carpet worthy and would make an amazing wedding dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. And of course it could also be worn to any big event. It has an inner hand written tag still attached and looks to have been worn very little if at all. Excellent condition.

The halter is backed with silk so it is opaque and the skirt has an inner attached lining in a solid ivory version of the same silk. It ties behind the neck and closes with a low hidden set zipper. Tagged a Cavalli 40.

Bust: has no fixed side seams. Each halter covers to approx 7"
Waist band under the bust: 14" flat across from side seam to side seam
Hips: open
Bodice: Approx 15" from top of bodice to bottom seam of 2" waist band and can be adjusted with ties
Skirt: 52" from bottom seam of band at the waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3997

Reference Photos/Video: (1-7) Spring 2007 Roberto Cavalli Runway Collection, Look 7. Model: Marija Vujovic.  /  (8) Gong Li at the Cannes Film Festival 60th Anniversary Dinner, 2007.  /  (9) Leona Lewis at the Glamour Women of the Year Awards, 2007.

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 incredible. I sold the twin of this last year and had this one still in my archives. I have seen one or two of these over the years and they have had the Valentina Inc label. This one has no label but it is clearly a well made piece and the same dress as ones I have seen previously. Plus it is just amazing regardless of its provenance and is definitely a dress that stands on its own merit. It is one of my favorite vintage dresses hands down. You just don't find things like this anymore

The base fabric is a black felted wool and this gives it a soft, artisanal feel. This has then been printed in a bright rainbow of colors that run down the dress in rows of various states of circles, from full ones to just a sliver of a curve. Each of these are then detailed with pink, blue or green sequins that are set in little clusters at the center of each little dollop of color. Around the waist is an elaborately sequin and beaded 'belt' that is not separate from the dress but rather is a part of the dress and has been detailed onto the fabric. The neckline curves up from the shoulder and the sleeves are long. Each sleeve is detailed with a row of 6 hand beaded circular pattern buttons that run down the cuffs. This same pink beaded button detailing is used all the way along the front vent of the skirt to keep it closed. The waist is defined by the detailing that you see but is actually cut fairly easy with just a suggestion of shape. The skirt falls from below that elaborate sequin belt and gently widens out a touch as it nears the floor. It is incredible and a personal favorite. It is truly a very special dress. You just don't see this level of elaborate work on pieces anymore. Excellent condition

Fully lined in a black silk and closes with a back set painted metal zipper. All of the buttons are decorative only.

Sleeves: 22"
Shoulders: 15"
Bust: to 17" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Bodice: 15.5" from top of bodice to waist
Skirt: 41.5" from waist to hem and including the two inch detailing around the waist. There is 3.25" turned up under the hem

Modern Sizing Equivalent: SML-MED

Item# E684

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

Madeleine de Rauch founded her self-named couturier house in 1932. In the beginning she was known as a 'sportswear' couturier which in the context of that time meant that she focused more on day wear. As time progressed she turned to evening wear and became equally as known for her gowns. In the mid-1950’s, realizing the importance and the inevitable coming of mass production, she and eight other fashion designers established the Ready-to-Wear Association. She was also a supporter of young talent and helped a very young Yves Saint Laurent find his workshop space from which he launched his first collection. She designed until 1974. This is a stunning dress from the early 1960s and the workmanship on it is incredible.

This is one of those dresses that the closer you get to it the more you realize just how special it is. My photos are not coming close to doing it justice. This dress is is a spectacular example of the high end hand work that was being done during this time period in the world of Haute Couture. It is harder and harder to find these original pieces that are entirely sequinned and appliqued and with such a heavy covering, never mind that it is also a true Haute Couture piece. The instant you lift this dress up you know it is an early and well made original because it literally weights about 5 pounds. This is entirely due to the dense and heavy coverage of the rhinestones, pearls and sequins that cover every inch of the dress. The cut is simple but dramatic due to the stark white and silver of the appliques. It is cut to skim over your curves and falls in an elegant sheath to the floor. This creates a long lean silhouette that suggests the body underneath and gives the illusion of height. The neckline is a simple scoop at the front and the back is another scoop. The hips are cut with a slight curve to follow the curve of the body and the skirt falls to the floor from there widening out as it nears the hem. The hem has a wide internal band of stiffening that allows it to hold the sculptural shape. The entire dress is densely covered with hand placed white sequins, pearls and prong set rhinestones. These are so heavily applied that they cover the entire surface. Underneath that is a white lace netting that has bits of a silver lame thread woven through the fabric for added glitz. The effect that this create when you move is wonderful. I love that no matter what angle you look at it from it catches the light beautifully. The time and hours put into making this dress with all that hand work is astounding. The entire dress is made by hand and it is amazing. It is a beautiful and glamorous dress that is red carpet worthy and would make an amazing wedding dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. And of course it could also be worn to any big event. Excellent condition

Fully lined in a hand set ivory silk with hand finished seams. It closes with two back metal zippers. One for the interior lining and one for the outer dress. There is an attached weight at the top of the zipper that flips over the edge so that it doesn't dig into your skin. All the sequins, pearls and beads are hand sewn into place. It weighs several pounds. There are some minor grubbiness to the inside lining near the hem but of course this is not seen when on.

Bust: 19" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 57" from top of shoulder to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3983

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 was Look 57 on the Resort 2014 runway. In 2014 Valentino was headed by both Maria Grazia Chiuri and Pierpaolo Piccioli. They had stepped into Mr Valentino's shoes and were breathing new life into the brand. The show was based on the ease of resort but as Vogie's Nicole Phelps noted: 'They do it the Valentino way, of course. There's nothing undone about their new collection.' Where many of the pieces in this collection had a more casual feel, when it came to the evening pieces they stuck to the glamorous DNA of the house. This dress was one of my favorites of the show but is also one of the most beautiful and best cut with its simple lines and extravagant yet refined beadwork. 

The lines of this dress are wonderfully simple and yet it still feels glamorous with the head to toe beadwork.

it is even better in person and on an actual body. As with many Valentino piece this dress has a bit of a bias cut to it through the body and it is meant to be on an actual body and not a mere dress form. As good as it looks here it only really comes to life once on. The dress is made from a pale champagne nude ivory silk satin that is then covered in a nude silk netting. Then onto the netting the dress is completely beaded from the top of the straps to the hem.  It is very beautiful. The dress is suspended from two straps that are completely encrusted with the beadwork. The neckline is cut straight across and its fitted around the bust. The dress falls from under that to the floor. The fabric and the way it is cut and draped allow it to skim over you and highlight your curves yet is very comfortable and easy to move in. The skirt gently widens out as it nears the hem and at the back it expands out at the center with panels of fabric to give you a trained feel. The skirt has yards and yards of fabric in it. There is a smoky coloured layer of tulle under the top nude that and this very subtle pop gives the beads more impact. The bead work that covers the dress is stunning.  On the bust it forms a lattice with edging on the seam above and below. Then it progresses down the dress in a panels of different densities. The beads are this amazing shade of a pale pink nude. Mixed in with the bead work are little embroidered 'leaves' that are connected at their bases so that they sit up and off the dress for a sense of texture and depth on the dress. As it nears the hem the beads and embroidery are spaced farther apart so that the final bit is more light and airy and just the tulle. This gives it a bit of a floating feeling once on. It is a beautiful and glamorous dress that is red carpet worthy and would make an amazing wedding dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. And of course it could also be worn to any big event. It has its original hang tags still attached and has never been worn. Excellent condition

The dress is fully lined in an ivory silk. The top layer is a fine netting and then is a layer of a palest grey netting between them. It closes with a hidden set zipper at the side. It appears to have never been worn and has its original hang tags. Tagged a modern 40. The original price tag would have been over $10,000 on this dress. It is even better in person then how it photoed

Bust: 16" across from side seam to side seam
Seam under the bust: 14" across from side seam to side seam
Natural waist: 14.5" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Bodice: 11.5" from top of shoulder to seam under the bust
Skirt: approx 48" from seam under the bust to front hem, 53.5" to the back hem

Modern Sizing Equivalent: XS-SML

Item# DD3981

Reference Photo: Resort 2014 Valentino, Look 57.

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

In 1981 Haslton was still in full control of his brand. He had not yet signed the international licensing agreements that would be the beginning of his downfall in 1983. At this point in the Halston history, he was at the top of his game and anyone who was anybody was wearing the Halston label. His prices were sky high and the work put into the pieces was impeccable. This dress is spectacular. It only has its made in India label that his things from this time period have in them, however, this has a matching jacket that my client was not yet ready to let go of and I have seen that jacket myself and it did have its Halston label in it. 

Halston's beaded and sequin pieces were being made in India during this time period. Halston personally chose the fabrics and materials that were used for each piece of his collection and then sent them to India where they were beaded and sequinned to his specific instructions and assembled. The 1981 collection was especially intricate and the majority of the runway garments were heavily beaded and/or sequinned. This dress is gorgeous but tiny. It has no side opening. Instead there is just a light elastic that runs through the waist, so it has to be big enough to go over your hips or shoulders. Once on the one shoulder hooks in place to close. All of the bead and sequin work on it is completely done by hand. Silver tube beads, seam beads and silver sequins are tightly spaced and have been hand applied onto the black silk chiffon. I love the boldness of the silver and how the entire dress glitters and sparkles in the light from every angle. The silk chiffon under the sequins and beads has the slightest touch of transparently to it. The silhouette is very simple with a single shoulder that dips low on one side. The bust then skims over you to the waist. The waist has elastic so once on its blouses a little and then the skirt is cut in pencil silhouette under that. It is very flattering on the body and easy to wear. It is pure glamour. Great overall condition with some notes to review below.

Unlined and has no closures. Elastic through the waist. It slips over the head to wear so you have to be small enough to get it on without an opening as described above. You could easily add a side zipper or snaps along the seam if needed. The bead and sequin work is completely hand done. I do see some areas where beads are missing and some loose beads and threads here and there. With the black underneath they almost feel deliberate and I don't think would be an issue once one. Please see the photos after the label shot.

Bust: 16.5" flat across from side seam to side seam
Elastic waist: 11-15" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Bodice: 20" from top of shoulder to waist bit will blouse up 
Skirt: 25" from waist to hem 

Modern Sizing Equivalent: XXS-XS

Item# DD3908

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

Jacques Fath showed his first collection of just twenty garments in the spring of 1937. It was well received and he steadily built a strong clientele to become of of the busiest ateliers in Paris. The Fath label was shuttered in 1957 after Fath's death three years earlier. In 1992 the label was revived for a short period of time  and Dutch designer Tom Van Lingen was charged with bringing the label back to life. He remained at the helm from 1992 to 1997. This gown is from that time period and comes from the same woman whose estate I have been working through. She loved dresses with a true ballgown skirt and this particular dress is exceptional.

This dress is stunning. It is red carpet worthy and would make an amazing wedding piece for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. The dress is made from a pale pink silk shantung that is very beautiful. It photoed very well but the richness of the fabric and the colour of the silk is even better in person. It is a soft and romantic pale pink. The silk is just heavy enough to hold the shape and structure of the dress. It does have weight to it but even with all of that fabric it is not so heavy that it is uncomfortable to wear. The shape and volume you see is held by built in underskirts and if you wanted to go even fuller you could easily add a extra crinoline. The skirt extends up with vertical seaming to become a very fitted waist that ends just under the bust. The bust above that is shaped into a soft halter style that extends up to wrap around the back of the neck and close. It dips onto a V at the front. The entire bodice is densely covered with hand done bead work. Thousands of little seed beads, beads and faux pearls cover every inch and are overlapped on top of each other and over a silver thread base. It is incredible to see. The back of the dress is very dramatic. It is trained so that it flows out behind you in a dramatic swoop of fabric. The inside lining has a wide inner bands of stiffened netting to help hold the skirt and keep the shape. The upper back is kept completely bare to the waist. Over this goes a matching cropped bolero jacket that is all cut on beautiful and graceful curves. It simple slips on and precisely follows the curves of the dress at the back and then curves up around you to the neat little collar at the front. Like the bodice of the dress, the bolero is also completely covered with the same extensive hand beading. It feels like a piece of art or wearable jewellery. It is utterly gorgeous and a beautiful thing to see in person. Excellent condition with a minor note below.

The bust is lined in a pale pink silk organza. The skirt is lined with a inner tulle and net skirting that has two separate layers. There are wide bands of stiffened netting through the inner skirts. The inner skirt hooks to close and then the exterior layer zips to close over that. There is a inner waist stay that hooks to close. The jacket slips on to wear with no closures. Padding in the shoulders of the jacket. Hand finishes throughout. I see some minor missing beads at the hook at the back of the neck and some slight damage to the organza on the lining near the hooks there as well. Please see the two photos after the label shot. Maybe the slightest tough of grubbiness to the edge of the hem. These are very minor. 

Dress
Bust: each triangle is approx 6.5" across at the widest point
Seam under the bust: 13.5" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: open
Bodice: 11" from neck to bottom seam of the band under the bust
Full length including bodice: approx 57" from neck to front hem, 64" to back hem

Bolero
Shoulders: no defined seam
Bust: 17" flat across from side seam to side seam
Length: 15.5" from neck to back hem

 Modern Sizing Equivalent: XXS-XS

Item# DD3902

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 gorgeous little dress is the ready-to-wear version of the Haute Couture dress that Yves created. I have included the runway photos of the couture version that walked the runway and that was featured in an editorial that year so that you can see how the dress looks on. The ready-to-wear version is a slightly simplified version of it but otherwise looks remarkably the same. He often did this with a few select pieces from his collections so that his non-couture clients had access to his work as well. The 1987 collection is one of my all time favourites and I am very pleased to have this wonderful example from it in the shop for you.

If you are a Yves Saint Laurent fan the second that you saw this dress you would have known that it was his work. This was a definitive look of the Couture collection and I love that he made a ready-to-wear version. I am also glad I have reference photos for you because if there was ever a dress that needed be seen on a body this is it. It really is not being done full justice on my dress form but it is gorgeous on the body. The dress sits off the shoulders to leave a bare expanse of skin. The sleeves are cut to follow the arm to just past the elbow. A pretty chiffon ruffle edges the entire neckline and then another ruffle curves around each wrist. The bodice skims over the bust and comes in at the waist. Under that the skirt flares out dramatically and is quite full. The front of the skirt is cut to the knee, or just above depending on your height, and then the edges of the skirt curve down and around to a full length at the back. The fullness and the length change give it a ton of movement when you move. The fabric is a segment in itself. It is made from a black silk net backed by a black silk tulle. Then onto the top net layer is a design made of black raffia. This gives the dress an incredible texture and the raffia catches the light fantastically. It also means that the parts of the dress that are not lined have a touch of transparency which is very sexy. This is an incredible piece of Yve's history and an absolutely gorgeous dress. Excellent condition with a minor note to review below 

Lined in a layer of tulle as described above and then there is a inner lining though the bodice and to just past the hips that is made out of a gold nude toned silk chiffon covered in a layer of black silk chiffon. It closes with a side set zipper. The raffia has small breaks in it here and there. I have never seen a vintage piece with raffia detailing that does not do this as it ages. It is inherent to the material and normal wear. 

Sleeves: 18"
Bust: 18" flat across from side seam to side seam
Waist: 12-13" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam before it flares out
Length: approx 35" from natural shoulder to front hem, 52" to lowest pint of the back hem

Modern Sizing Equivalent: XS-SML

Item# DD3888

Reference Photos: (1-2) S/S 1987 Yves Saint Laurent Haute Couture Runway Show.  /  (3) Brynja Sverrisdottir in S/S 1987 Yves Saint Laurent Couture. Photo by David Bailey.

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 Galliano was moved from Givenchy to Christian Dior in October of 1996 and stayed there until he was dismissed in February of 2011. This dress is from the Fall 2007 collection and was a piece that was produced in limited quantities for retail. In the runway we can see similar beadwork and the design used on the upper part of the dress referenced  in look 26 in an shorter orange version. A shorter version in black with a slightly different bodice was also worn by Penelope Cruz when she attended the 2008 Cruise collection show. I have included photos of both of these examples here as it is always interesting to see the progression and variations on a theme that a designer chooses to do.

Vogue raved about the collection saying in part: "If you're getting into the forties this season (and that's definitely one way to go), John Galliano is the man to fulfill those latent Joan Crawford urges, no holds barred. His ready-to-wear collection for Christian Dior was virtually a camp-fabulous Hollywood spectacular—like a pumped-up 2007 remake of The Women (Cukor, 1939; ever a fashion favorite), but this time played out in full glorious purple, pistachio, electric blue, and fuchsia, rather than black and white.' This is one of my favourite Dior dresses that I have had in the shop to date and it is even better on person and on an actual body.

As with many Galliano piece this dress is entirely cut on the bias and it is meant to be on an actual body and not a mere dress form. As good as it looks on the form once on an actual body it will only be better. The dress is made from a rich looking champagne coloured silk satin that in certain light has a slight silver undertone to it. The fabric and the way it is cut and draped allows it to hug the body but without being tight. It skims over the body and highlights every curve yet is very comfortable and easy to move in. Once on an actual body and you start to move in it the dress moves with you. The dress molds itself around the bust and plunges at the front into the squared off neckline. A wide panel of fabric runs down the centre of the body to the bottom of the torso. All of the fabric on either side of that center strip is gathered and hand draped into and under the panel in big soft folds. Then he embellished it with little silver flat metal sequins meant to suggest tiny leaves, hand sewn tube beads and prong set glass crystal rhinestones. These catch the light and add even more glamour to the dress. As the draped silk of the dress nears the bottom of that center panel is starts to open up more into looser folds and eventually falls and expands out into the skirt. The skirt has yards and yards of fabric in it and I love how it is draped around the sides of the hips for shape and volume. It gives you this insane hourglass feel. At the back the fabric is lightly gathered into the zipper so it is fitted on the back and then it falls out to the skirt with a series of panels built into the back for added volume. It then extends out to a short train at the back for the perfect finish. It is one of the most beautiful and glamorous dresses I have ever had in the shop. It is red carpet worthy and would make an amazing wedding dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. It appears to have never been worn or worn very little. Excellent condition

The dress is fully lined with a fine ivory tissue silk. It closes with a hidden set zipper at the back. It appears to have never been worn or worn very little. Tagged a US 8 but cut very small

Bust: 16" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 58" from top of shoulder to front hem, 64" to the lowest point of the back hem 

Modern Sizing Equivalent: XS-SML

Item# DD3875

Reference Photos: (1-2) Dior Runway Show in Prague showcasing Fall 2007 RTW/Resort 2008 pieces. Dress shown worn by Miss World 2006 Tatana Kucharova.  /  (3) Fall 2007 Christian Dior Runway, Look 26. Model: Patricia Schmid.  /  (4-6) Penelope Cruz at the 2008 Dior Cruise Collection Presentation.

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 the most incredible dresses from this time period that I have had in the shop. The fabric is an early and original version of the moss crepes that you see so frequently during the 1970s with designers like Ossie Clark.  It is also special in that all of that sequin work that covers the entire dress are gelatine sequins which are a rarity in themselves. In the 1920s when the Egyptian pharaoh Tutankhamen tomb was opened, many garments where found inside the tomb that were embellished with tiny gold disks with a hole punched out of the middle. They were made from pure gold and sparked a craze for flapper dresses to all be covered in little metal discs. By the 1930s, manufacturers developed a process to create lightweight sequins using gelatin coloured with paint. That is what these are and while these sequins looked great they did have the unwanted side effect of potentially melting at temperatures with applied heat and dissolving in water. As a result the industry soon switched to acetate sequins and then eventually our modern day Mylar or plastics. It is extremely rare to find pieces with these earliest kinds of sequins and even rarer to find one in this extraordinary condition given the potential to melt if cared for improperly. 

The dress is even more gorgeous in person then how it photoed. This is one of the best pieces from this time period that I have seen in a very long time. It is now so rare and hard to find these in such amazing condition. It is also surprisingly long for a piece from this time period. The dress has been finished beautifully and it obviously is a high end piece. It was a hard dress to photo since it is meant to be on an actual body and my dress form is not doing it anywhere near the justice it deserves. The dress falls in a stepped V at the front with the sides of the front V extending out to become the wide straps that curve up and over each shoulder. The bodice is cut in that loose and easy way over the bust that pieces from this time period were done in. It gathers in at the front a touch and then falls over the waist for a bit of a column feel. The skirt falls to the floor under that in a smooth column that widens out gradually as you hear the floor. At the back it dips scandalously low to reveal a wide expanse of bare skin. It does up with a side zipper so that all of the lines stay long and smooth. It was then densely detailed with the most amazing pattern of flowers and vines that cover the entire dress except for the stark band across the middle that was left as just the black crepe. This anchors the design above and below and visually draws the eye in. The design is made up of hundreds of thousands of tiny hand set gold sequins and the vines that trail between them are done in the tiniest possible seed beads. They are so densely done that the pattern sits up and off of the crepe underneath for the most beautiful 3D feel. You can clearly see the hand work on the back and I cannot even imagine how many hours it would have taken to accomplish this type of meticulous and detailed work. The design completely covers the front and back of the bodice and runs all the way around the long skirt. The embellishments catch the light and add a fabulous glitter to the dress. It is truly incredible and if you are a fan of these pieces from the late twenties and into the thirties you know just how exceptional and rare it is. It is truly a once in a lifetime find. Excellent condition 

Unlined and closes with a side set metal zipper. Ribbon edged finished hem. It is in wonderful condition and appears to have been worn very little. For a garment almost 100 years old it is truly amazing. 

Bust: to 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 58" from neck to the front hem, 60" to the back hem 

Modern Sizing Equivalent: SML-MED

Item# E698

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

True Haute Couture pieces by Chanel are an extraordinary find as they are so very rare and hard to come by. This one, like several other of the Haute Couture pieces in the shop at the moment, are from one of my clients whose mother purchased the majority of her Couture pieces between 1973 to the mid and late seventies. This particular set has the added provenance of having its twin photoed on actress Sylvia Kristel. We also found the original presentation photo from the couture collection that year and it shows you just how gorgeous this set will sit on the body once on. It is an incredibly beautiful example of the work that the Chanel ateliers were doing during this time period. 

The set is two pieces. A silk jersey dress that has incredible lines and then a matching silk jersey cardigan that is hand beaded. The dress is made out of two distinct layers. There is a complete inner dress made out of a silk crepe that is cut to skim over you and act as an inner lining. Attached to sit over that is a silk jersey exterior layer. The jersey is all cut on the bias and it is incredibly flattering. The neckline sweeps across the collar bones and sits wide at the front. A thin and open keyhole runs down the center of the bodice from just under the top of the neck to just above the waist. The waist itself is gathered into this elaborate circle that is entirely and meticulously made from hand set pleats. This creates a pretty and soft effect at the front. All around that circle is a series of soft pleats that span outwards. The back is cut onto a deep V for a little bit of skin to show. The skirt falls in a draped column and there is no seam at the waist so the line remains long and beautiful. Over this is a soft cardigan made from the same silk jersey on the exterior. Inside it has been hand lined in a matching red silk chiffon. All of the edges of the cardigan have been covered with beautiful beaded flowers and a border that is made from red and black glass tube beads. These would have been applied and created by hand by Lesage to the exact specifications given by Chanel. The bead work gives the design a slightly raised effect and they have a subtle glimmer in the light. I love this contrast between the bareness of the dress underneath with the coverage of the cardigan. It gives you two completely different looks to work with and wearing it with the jacket completely transforms the look and feel of the dress. It goes from a more bare and sexy dancing dress to something that feels more formal but still with that sense of ease created by the silk jersey. Both pieces are entirely made by hand as Haute Couture dictates and the fabric would have been made specifically for Chanel and this piece. This is a fine and rare example from this time period. It is truly brilliant and when you see it in person you will be astounded at the level of craftsmanship and care put into the construction. In excellent overall condition with notes below.

The dress has an inner attached silk dress and there is a wide grosgrain band that hooks to close at the interior of the waist, The inner dress zips to close under that and the outer dress buttons into place with a series of hand covered silk buttons in a matching fabric. The jacket is fully lined in a red silk chiffon and hooks to close down the front. Both pieces have been completely hand made. The label was removed at some point. There is a are some small marks that I have photoed. They may come out with a more aggressive or specialty cleaning. Please see the photos starting after the shot of the way it closes at the back.

The color in person is more a deep raspberry/ soft burgundy with a bit more of a red pink tome then how it photoed. The waist measurement is taken of the inner grosgrain band. You should be able to add to it if you needed more room and get another inch or two to work with. It is all hidden under the exterior dress so would be a very doable tweak.

Dress
Bust: approx 17" flat across from side seam to side seam
Inner grosgrain at waist: 13" flat across from side seam to side seam
Inner lining hips: to 18.5" flat across from side seam to side seam
Length: 60" from top of shoulder to hem

Cardigan
Sleeves: 23"
Slightly inset shoulders: 14"
Bust: 17" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Length: 25" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD3730

Reference Photos: (1) SS 1976 Chanel collection in Paris, January 23 1976.  /  (2) Dutch actress and model Sylvia Kristel in Chanel, January 27 1976.

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

I have several interesting pieces that have come in from a client whose aunt had most of her clothes made. This dress was made by Ady Couture and the story behind this label is fascinating. Ady Couture was based out of Lausanne Switzerland. She would buy couture fabrics from the couture houses along with the patterns and with their permission would make copies of the piece presented in the Haute Couture collections. When she was younger, and lived in Amsterdam, Ady would attend the private viewing and purchase directly from the couture houses. My client believes that her arrangement with the ateliers was a way to work around customs and this was the work around that that Ady negotiated with the ateliers. In my hunt for more information on the label I have been able to verify that they made this permissible copies of the work of Yves Saint Laurent, Christian Dior, Givenchy and Ungaro. There may have been others but this are the four houses I am confident on. I feel that this particular dress has a more Yves Saint Laurent or Ungaro feel to it and I am still actively searching to find its counterpart. The dresses are completely made by hand to Haute Couture standards and are incredible to see.

The dress is made from a silk taffeta and this fabric choice allows it to hold those extravagant lines that you see. It is absolutely beautiful and a testament to the level of design that you only see in couture pieces. The colour of the silk is extraordinary. I have managed to almost capture it in these photos but in person it is even richer feeling then what you see here. At the front the neckline is set in a simple high scoop. The bodice is cut to skim over your curves and is simple in cut to let the other details shine. The sleeves are a work of art. Each is made on a curve to follow the shape of the arm. They are set into the shoulders with a beautiful series of soft pleats so that you get a beautiful sense of volume there. They then taper down to the cuffs where they zip to close around the wrist. The waist is seamed and the skirt is set around the waist in a series of soft gathers that sit out from the waist slightly. This gives the illusion that the waist is smaller then it is and is quite genius. The skirt is one of the best skirts I have seen both from a design point of view and by its level of construction. It is made into two sections. The top section comes out from the soft gathered pleats all around the waist and then it balloons out all around you in a full pouf. It is seamed underneath to catch the fabric back inwards and then the second part of the skirt falls to the floor. That second tier has many yards of silk in it so that it flares out as it reached the hem. Between the two sections is a wide velvet ribbon that wraps around the seam and then you tie it into a bow at the side. What is truly incredible is that all the volume and shape that you see is created purely through the way it is cut and the fabric choice. The skirt does not have extensive underskirts to shape it. The silk of the skirts are interlined in a silk organza to help give it more weight but it is really the genius of the cut that gives it the intended shape. The final perfect detail is the elaborate detailing that runs across the front and back of the bodice and over the sleeves. All of the work is by hand. The intricate floral design has been created by combining embroidery work with tiny black sequins and beads. It is some of the finest hand work I have seen and I love how they have deliberately laid the sequins out so that you get a more matte feel for parts of the design. Inside the dress is completely finished to couture standards with every seam is hand finished. I have taken some detail shots for you to see the fine workmanship inside. It is an incredible piece and absoluteyly beautifully made. It appears to have been worn very little if at all. Excellent condition 

The bodice is fully lined in a matching gold toned silk and the skirt is fully interlined with a slightly gold tinged silk organza. It closes with a back fine zipper and the skirt snaps into place with silk covered snaps over it. Hidden set zippers at each wrist. Hand finished throughout. It appears to have been worn very little if at all. Made to Haute Couture standards with a tremendous amount of detail put into its construction.

Sleeves: 26"
Slightly inset shoulders: 13.5"
Bust: to 19" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: open
Bodice: 15.5" from shoulder to waist
Length: 42" from waist to front hem, 45" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD3685

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 think our modern world forgets just how important Oleg Cassini was as a designer in his heyday. From his first film in 1941 he was responsible for many of the best looks on film, dressing stars like Rita Hayworth, Gene Tierney (who he married), Audrey Hepburn, Marilyn Monroe, Lana Turner and the list goes on and on. In 1952, he opened his own fashion house on Seventh Avenue. By 1961 he was appointed by Jacqueline Kennedy as her exclusive couturier. Some of his early works especially, were more on par with couture, using the same techniques and high fashion fabrics as the French couture houses. This is a later example of his work and yet it still shows the care and meticulous detailing that he put into his work.

The dress is amazing in person. It is made of a black silk chiffon that has been extensively covered with gunmetal silver glass tube beads. The dress is extremely heavy because of the bead work. It weights about 4 pounds and it is gorgeous. The bodice of the dress is suspended by beaded straps and then scoops down with shaping at the front and a lower set line at the back. It has a wide band of beadwork following the top seam and then is shaped by a series of vertically set rows of beads that go all the way around the bodice and end in little jagged ends. It is fitted to the bodice and then nips it in at the waist. The skirt skims over the hips into a pencil shape and then onto that are curved vertical panels that start just under the waist and go to just above the hem. These give the illusion that the skirt is tiered but that ruffled effect is actually created by the panels dropping and layering over each other. I did a photo of it laid out flat so you can get an idea of how much volume is actually in the skirt. When you move the movement this creates is fantastic. Each is finished along the curved edge with a series of stacked rows of beadwork. More vertical bead circle the hips and these are done to pick up that same jagged finish design as on the bodice. The hem is then finished with a wide band of yet more beading. Excellent condition

Fully lined in a black muslin through the bodice and black silk through the skirt. It closes with a back zipper. Hand work throughout. Light boning in the bodice. It looks to have never been worn. Perhaps the occasional bead missing but no bare areas that I could see. 

Bust: 16" flat across from side seam to side seam
Waist: 11.5-12" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 42" from shoulder to hem

Modern Sizing Equivalent: XXS-XS

Item# DD3629

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

Jean Paul Gaultier's career spans decades. His first show was in 1976 and his avant garde designs quickly gained him the reputation of being fashion's 'l'enfant terrible'. His designs mixed cultures with abandon, gender norms were blurred through his pieces and the body was presented encased in ways unimaginable prior to his brilliant vision. In 1997 he entered the sanctified world of Haute Couture and for just over two decades produced stunning work cumulating with his final show for Spring 2020. His pieces of couture rarely come to market and I am very pleased to have this dress that is very well documented and instantly recognizeable. This is the twin of the dress shown for the Fall 2000 Haute Couture presentation entitled 'Paris and its Muses'. I have included the original runway photos for reference here for you. The dress was also photoed for Vanity fair on Doutzen Kroes. Fast forward to 2013 where the twin of this dress was featured in the The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk exhibit. I actually attended the opening of that show in San Francisco and it is surreal to now have the actual dress in hand as I remember swooning over it on display. This dress was obviously a favourite of Jean Paul's because he chose to recreate a version of it for his Fall 2018 Couture collection. That 2018 version was then worn by Rita Ora for the 2018 MTV VMAs. This may have been the only original piece ever produced beyond the piece that was shown in the exhibition. 

The dress is an incredible work of art. It is made from a layer of silk netting that falls over an interior nude coloured lingerie weight stretch silk. This makes it very easy to wear and be comfortable in despite the dramatic feel it has to everyone seeing it. Onto the silk netting at hand made and hand applied tubes of silk with a stiffened netting inside that gives them the 3D dimension that you see. The entire dress would have had to have been careful planned out prior to its creation. Every single word that you see running over its surface would have had to have been laid out and planned for how it would be placed onto the dress before it was even started. Each word would have had to have been figured out as to the degree it would curve over the body and then it would have been all meticulously brought to life. The letters cover the dress from head to toe and the closer you look the more you see the French words 'Cherie',  'Mon Amour', 'Jean Paul Gaultier', 'Paris' and more as the hand written script cascade and curves it way down the length of the dress. It falls from the shoulders in a long swoop that widens out as it nears the hem. I love how the hem is curved and swooped to follow the final words across the bottom. The script and the netting inside the words also helps to keep the shape of the dress that you see in my photos as they act as structure and support. In a way like a crinoline but attached on the outside rather then worn underneath and hidden. The top is sleeveless and the straps are just wide enough to accommodate the lettering that runs over them. The front scoops down and the back dips into a V. The waist is easy and then it flares out dramatically to the hem. It is bias cut so should fit a range of sizes. Inside you can see how all of the seams are finished with proper couture techniques. This is a dress that would have taken hundreds of hours to complete and is literally like wearing an art piece come to life. To have a piece available for purchase is almost as rare as being able to have bought it as a couture client in the first place. Truly one of the most magnificent pieces he has ever created. Excellent condition with some very minor notes below 

Composed of two layers, the inner nude lingerie weight stretch silk and then the netted layer over that. The inner layer closes with a zipper and the outer layer snaps to close with a tightly spaced series of tiny snaps.  The dress looks to have been worn very little if at all. There is some minor stress to the netting around the seam of the armholes. I see a couple of the ends of a word that have popped through the silk a bit and some small tiny snags to the netting here and there. All of these are very minor. Please see the photos after the Couture label. All the work is done by hand to Haute Couture standards. Proper Couture tag present. It appears to have been worn very little if at all. Sourced from the original couture client  

Bust: 15-19" flat across from side seam to side seam
Waist: to 15 " flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 62" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3612

Reference Photos: (1-2) Fall 2000 Jean Paul Gaultier Haute Couture Runway Collection.  /  (3) Doutzen Kroes in Jean Paul Gaultier couture from the 2000 collection for Vanity Fair, 2009.  /  (4-8) Jean Paul Gaultier exhibition at the Grand Palais, 2015.  /  (9) Fall 2018 Jean Paul Gaultier Haute Couture Runway Collection. Look 34.  /  (10-12) Rita Ora in Jean Paul Gaultier at the 2018 MTV VMAs.

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

Renato Balestra launched his couture label in Rome in 1951. His work quickly gained international fame and was one of the cornerstone ateliers of the Italian couture 'Alta Moda' movement. On their website they state: 'The Balestra brand blends the mastery of the artisans and the style of the designer to express its vision to the fullest, thanks to hundreds of hours of craftmanship and the highest attention to details.' This is a beautiful example of his work and is in remarkable condition. This particular piece has the added provenance of having been more for the Ebony Fashion Fair and could very well be the only one ever made exactly like this. 

The jumpsuit is made from a very fine silk satin that uses both a yellow and a purple for an electric clash of colours. The purple silk is used for the halter cut top of the jumpsuit and then a bright clear yellow has been used for the wide cut pants that start just under the high set waist. Under the bust the same purple silk has been individually cut into an intricate design and laid out onto the yellow silk. This was then appliqued onto the silk using a mix of a purple metallic thread embroidery, rhinestones and tiny tube beads to give it a 3D feel. These have all been meticulously laid out and done by hand. This touch of glitter around the waist is what gives the jumpsuit its sparkle and glitz. The bodice is simple and perfect with a deep V front that plunges right to the band under the bust. A sweet little flat bow sits there for detailing. The back secures with a hook and eye at the neck and then is left open in a long slit to the banding at the waist. The pants are cut wide and full so that you have this beautiful long line and a touch of movement when you move. The interior is all done to Haute Couture standards and is beautiful to see. The top is lined in a hand set silk crepe and the pants have been interlined with a yellow silk chiffon. The workmanship and care need to work with these types of fabric when all the work is done by hand cannot be underplayed. This would have taken hours of meticulous hand work to accomplish. The workmanship is exquisite and the liquidity of the fabric and the cut of the jumpsuit once on the body is very sexy. Excellent condition

Fully lined through the bodice in a hand set purple silk and fully interlined through the pants with a yellow silk chiffon. It closes with a hand set zipper starting at the waist and then has a hook & eye at the back of the neck. This leaves an open slit between the two at the back. All hand finished with hand finished interior seams and all the beadwork and embroidery work is done by hand to Haute Couture standards. It appears to have been worn very little if at all. Note that the yellow in person is a slightly lighter shade then how it photoed. It did not quite do up all the way on my mannequin at the back but will close as described above on the proper sized person for its size. 

Bust: to 17" flat across from side seam to side seam
Seam at under-bust: 13" flat across from side seam to side seam
Natural waist: 13.5" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Bodice: 13" from top of bodice to seam under the bust
Pants: 46" from seam under the bust to hem
inseam: 35"

Modern Sizing Equivalent: XS-SML

Item# DD3498

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 wonderful little 1920s flapper dress was completely made by hand and a wonderful example of the level of craftsmanship being utilized during this time period. It has its original Made in France label still present and these pieces were always a little higher quality then some examples you see from the time period. It has no other label but it is not hard to imagine that it might have been a designer piece as well. The base of the dress is a black silk netting that is strong and sturdy. Onto this is an intricate design made up of gelatin sequins set boxes. Each is a combination of purple, pink & turquoise in an alternating design. The placement of each sequin is by hand and it is amazing to think of the time it would have taken to make the fabric alone. The center of each block makes me think of a cluster of little pink "hearts" that are then surrounded by an abstract shape. A metal based gold lame thread and tiny little gold tubes beads are then shaped around each to make the block design that you see.  These are then stacked in rows to cover the dress entirely with the black netting serving as the separation between each. This combination of colored sequins, gold thread & beads is absolutely fantastic. There is an extra panel of netting inserted at each hip to give the skirt extra flare. Excellent antique condition

The dress is unlined and slips over the head to wear. The edges of the side net panels are raw and at one time there may have an extension to them but it is now cut even with the hem. I see no other flaws and it appears to have been worn very little if at all and is wearble with the care it would deserve to be worn with. Even with that small defect the dress is remarkably sound and shockingly beautiful. It is almost 100 years old and is considered to be in museum quality condition.

Bust: 17" from side seam to side seam
Waist: 16" from side seam to side seam
Hips: 17" from side seam to side seam
Total length: 40" from shoulder to bottom hem

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

Modern Sizing equivalent: XS-SML

Item# E290

This garment is in sound, clean, as found condition and is odor free. Thoroughly checked over before shipping, it will be ready to wear upon arrival