This was the collection where Donatella went back to using and styling her models to look like super models like her brother Gianni had done in the past. Vogue said that; 'The aura of glamour that sparked off the flying hair and luminous faces of Carmen Kass, Daria Werbowy, Eugenia Volodina, and Karen Elson was a strong reminder of what once made Versace electrifying.' The collection focused mainly on daywear but a very Versace notion of that. This was Look 25 in the line up and was the strongest piece of the shorter dresses presented. Its twin ended up being the one used for the ad campaign that season and was shot on Demi Moore who looked utterly fabulous in it. I am very happy to have that shot, runway photos and a video so you can see how amazing this dress is once on the body. It is gorgeous.

The dress is made out of a printed silk chiffon that combines numerous abstract versions of various exotic skins. These are laid out in a pattern that mixes and matches them all and this effect is heightened even further by the detailing work that is done on the skirt. The dress is cut to highlight every curve. The bodice is a single layer of the silk chiffon. To keep it in place you slip your arms through the sleeves and then simply tie it around the neck. The front is gathered into two halters that run from the high set waist to the attached scarf at the neck and there's a slit that runs down the center to leave a sexy glimpse of bare skin. The sleeves are long and simple, narrowing down slightly as they reach the wrist. The back is left bare across the top and that long scarf falls from the neck to cascade over it for a bit of a peekaboo effect that is very sexy. The skirt starts from under the bust and is fitted through the waist. Inside there's a bit of a stiffened net corset to help shape and hold it in place. It is fitted over the hips and narrows down as it reaches the hem. An small open vent runs up the back to allow you to walk. The skirt is quite remarkable with the long strips of fabric sewn and overlapped horizontally around it. When you look at it close up you realize it that it's all individual strips and it is quite remarkable. It is stunning and so Versace in feel. Excellent condition

The halter part is unlined and the skirt is lined in a black silk chiffon. There is a stiffened net partial corset that runs around the interior waist for shape. It closes with a hidden set side zipper and ties into place around the neck. No size tag present. It appears to have been worn very little if at all.

Sleeves: approx 25"
Shoulders: no true defined seam
Bust: to 17" flat across from side seam to side seam with room for an A-C cup at front, maybe a touch more if needed
Seam under the bust: 15-16" flat across from side seam to side seam
Natural waist: to 13.5" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Bodice: 10" from neck to seam under the bust
Skirt: 29" from seam under the bust to hem

Modern Sizing Equivalent: XS-SML

Item# DD4216

Reference Photos/Video: (1-4) Fall 2005 Versace Runway, Look 25. Model: Hana Soukupova.  /  (5) Demi Moore for the Fall 2005 Versace Ad Campaign photographed by Mario Testino.

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

This was one of the best dresses from the Spring 2017 collection. It instantly sold out and was photoed on everyone lucky enough to get their hands on one. Its twin walked the runway and Ellie Goulding wore hers to Cannes. “Everyday femininity” was the main inspiration behind the collection and Vogue noted that the usual pant loving Marant; "..admitted that she’d been feeling the idea of dresses more than usual, and the best of the lot were as romantic and flirty as the designer gets: replete with ruffles, covered in Liberty London-style floral prints, and finished with the billowing statement sleeves we’ve seen all over the runways for Spring." This was Look 29 on the runway and one of the best of those dresses.

The dress is in mint condition and was never worn. It still has that crisp, just off the rack feel. It is the perfect easy little summer dress and still feels relevant and fresh. It is made out of a crisp cotton mix covered with a fabulous print that has a strong pops of blue running through it. I love the crispness of the fabric. It is what allows the dress to hold it shape once on. The dress is cut to skim over the bodice and dips down on one side to leave your shoulder and arm completely bare. On the other side there is a dramatic ruffle that starts at the neckline, circles around the shoulder and then trails all the way to the hem at the back. The waist is seamed and the skirt has the illusion of being wrapped in place around you. I love how the hem curves up on the side to play into that wrapped feel. The bottom of the hem is finished with a 6 inch ruffle and this lets it flare out and away from you. The dress comes with a matching tie belt so you can cinch in the waist and I've seen this dress worn with a variety of other belts that really change up the look of the dress. Excellent condition.

Unlined and closes with a hidden set side zipper. Tagged a modern 40. It was never worn and is new without tags

Bust: to 18" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 32" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4215

Reference Photos/Video: (1-3) Spring 2017 Isabel Marant Runway, Look 29. Model: Yasmin Wijnaldum.  /  (4-5) Ellie Goulding at Cannes Lions Entertainment in France, June 2017.  /  (6) Spring 2017 Isabel Marant Matches Fashion Lookbook.

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

On the designer site the description of Cecilie's work says is  best; 'Cecilie Bahnsen operates at the intersection of couture and ready-to-wear to create luxury clothing with a relaxed, timeless style. Celebrating the traditions of fine French fashion and the design culture of Scandinavia, the collections combine craftsmanship and details with architectural volumes and sculptural silhouettes to offer a contemporary take on femininity. Unique fabrics are hand-designed each season by founder and LVMH Prize finalist Cecilie Bahnsen, a Copenhagen native who returned to her home town to found her eponymous label in 2015 after studying at the Royal College of Art in London and working with couture houses in Paris.' A version in a white quilted fabric walk the runway for Fall 2019, Look 26 and it was also released in black of which we found many reference photos of it. It is my understanding from my client that a very limited amount were made in the ivory silk faille that I have today. It is stunning in this fabric and colour.

This particular shape is part of her core aesthetic and what catapulted her to fame. These voluminous baby doll dresses are a signature and this one is stunning. These are dresses that you can wear flat boots with and stomp about and then with your next wear you could add your highest heels, pile on the jewellery and be as 'ladylike' as you could possibly be. It would also make a wonderful wedding piece for a bride looking for something nontraditional or as a piece worn to one of the events surrounding a wedding weekend. The fabric is a synthetic that feels and looks like a silk taffeta. It has a lot of volume while staying as light as air. The neckline is squared off and the sleeves are big and poufed. The dress falls in three tiers. The first lays flat across the bust and then the two under that widen out significantly for that baby doll look. At the back the waste dips down on a pretty curve and panels come across the back above that and tie into place with wide black velvet ribbons. This leaves a peek-a-boo effect of bare skin behind the ribbons and panels. The back of the dip sounds slightly lower than the front and the effect is just romantic and pretty and whimsical. Her dresses are high fancy and this gorgeous ivory one is no exception. Excellent condition.

Behind the bust is lined in a ivory silk and the rest of the dress is unlined. It zips to close at the side with a hidden set zipper. The black velvet ribbons tie the back into place. Tagged a UK6 US2. It looks to have been worn very little if at all.

Bust: the front panel is 15" flat across from side seam to side seam but the adjustable back allows you to adjust it by quite a bit up from there
Waist: the front waist seam is 13" flat across from side seam to side seam but the dipped back allows you to adjust it a bit up from there and it would just lie less dipped. The total room is 30" around bit it is meant to dip a bit
Hips: open
Bodice: 11" from top of shoulder to seam under the bust
Skirt: 25.5" from seam under the bust to front hem, 30" to the back em

Modern Sizing Equivalent: XS-SML

Item# DD4213

Reference Photos: (1) Fall 2019 Cecilie Bahnsen Runway, Look 26.  /  (2-5) Various on-model shots. Credits unknown.

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

The twin of dress walk the runway as look 42 complete with a veiled hat and bouquet of flowers. The intention for this to be used as a wedding piece was clear. Alber Elbaz cited Acapulco as an inspiration and its not hard to imagine that he was thinking is a beach wedding for this gorgeous little dress. In Vogue's review of the collection that noted the same saying; 'You could see it in the lime-and watermelon-wedge pendant necklaces, the straw hats decorated with tropical fabric flowers, and the raffia-accented flats'. This was one of the four final dresses of the show and all four were ready-to-wear wedding dresses, which is not something you normally see mixed in with a collection to that extent. The dress was also featured in Vogue Spain that season and was a sell out at retail. It is just gorgeous.

This is such pretty and easy to wear dress. It is actually a very simple shape that is meant to skim over the bust, waist and hips. It is strapless with a pretty curve to the top neckline that is very flattering. It has an inner built-in boned silk corset to hold it in place and the dress floats over that, widening out as it nears the hem. The fabric is a woven silk that has a slight transparent feel to it. It's then lined in an inner ivory silk layer that makes it opaque enough to wear but still keeps that light fluffy feel. It's very light in weight and just feels like to floats around you. The front is covered in layers of ruffles. These are actually three long ruffled pieces that are set in curving rows over the front. This curving back and forth technique lets them be fuller at the sides and adds to the volume that you see. It would be flatter if they were just strips of ruffles sewn on independently. It's quite genius. The ruffles all have a bit of stiffening at their ends to help hold their shape and have a raw finish. The back is left ruffle free so you get some shape. The dress can be worn full and easy or you can use the matching wide silk satin ribbon belt to send in and give it added shape. In the photos where I have shown it with the ribbon I tied it just under the bust but you could of course place and tie it wherever it suits you best. It's flattering, shows a mile of leg, and is a really fun alternative to the more traditional wedding dress. And even if it's not what you may think of as a main wedding dress it would be a great dress to change into for the reception. And it has enough style that you could wear it for any occasion. It is fabulous. Excellent condition with a note below

Fully lined in an ivory silk and has a built-in boned corset. The corset zips independently at the side and then the outer dress zips to close over that. Comes with its original matching belt. Tag a size 38. See some marks on the inside bodice and there's the faintest touch of discolouration on the top part of the ruffles on each side. None of these would be seen once on. A touch creamier in person.

Inner bust: 16" flat across from side seam to side seam
Inner waist: 13" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 29" from top of bodice to hem

Modern Sizing Equivalent: XS-SML

Item# DD4212

Reference Photos: (1-2) Resort 2010 Lanvin Collection, Look 42.  /  (3) Tiiu Kuik in Lanvin photographed by Michelle Ferrera for Vogue Spain, November 2010.

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

Vicky Tiel was backed by Elizabeth Taylor as a young designer after working on the costumes for 'Whats New Pussycat'. After a stint with a partner she launched her self named label in Paris in 1970. She as one of the very early boutique owner/designer that offered a ready-to-wear option in Paris. That said, her clothes often walk a fine line between ready-to-wear and couture in terms of their construction and techniques used. By the mid to late seventies her style had developed into the ultra sexy and feminine clothing that she is now known best for. By the eighties and into the nineties, she had a cult celebrity following. This is a stunning example of just how gorgeous and dramatic her work could get.

This is a spectacular two piece set in a ivory silk. It is an early example of Vicky Tiel's talent and ability to work and tailor a pieces while working with very fine fabrics. I love the versatility of having the two pieces. It means that you can mix and match them with existing pieces. The colour of the set lends itself to be a great piece for a potential court or more casual wedding or any other great event. Both pieces very light in weight and the silk is very fine. The skirt is a masterpiece. It is banded at the waist and then there are two tiers of fabric under that. The top tier is completely and meticulously pleated with tiny precise knife pleats. At just about the knee the second panel creates a more ruffled feel to the hem. The pleats on the bottom tier open out as they near the hem. The skirt has a lot of fabric and can be worn with or without a crinoline. I have photoed it both ways so you can see the fullness you can achieve. The jacket has a strong nod to the Victorian era with those amazing puffed shoulders. Each shoulder is very full at the top and then narrows down to the wrist. The waist is nipped in and below that is a feminine little hip peplum. The collar is neat and rounded and it closes with a series of silk covered buttons down the front. It is just a gorgeous little set. Excellent condition with a small note below.

Both pieces are unlined. The jacket closes with silk covered buttons down the front and the skirt closes with a side zipper and flat hook & eye at the waist. Light padding in each shoulder. Hand finished throughout. I see one mark on the skirt and a very tiny one on the top. Please see the two photos after the label shot. It is slightly creamier in colour in person.

Top
Neck: 16" around
Shoulders: 15" across
Sleeves: 25" long
Bust: to 18" flat across the back from seam to seam
Waist: 13" flat across the back from seam to seam
Length: 21" from neck to hem

Skirt
Waist: 12-13" flat across from side to side
Hips: open
Length: 29" from waist to hem

Modern Sizing equivalent: XS-SML

Item# DD4211

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 the easiest dress to wear and it was never worn so it is in perfect condition. It is the perfect little dress that translate seasons and will work all year round. Its classic lines keep it feeling relevant and fresh. It is made out of a soft black fabric that drapes beautifully. It is both top stitched and has a open chain stitch technique to piece the various parts of the pattern together. When you wear it you actually get little glimpses of skin through the chain stitches. The cut is loose and easy. It skims over the bodice and the waist and then the skirt flares it from there. I love how the sleeves are short and capped and the soft detail on the shoulders. So sweet. Excellent condition.

The bodice is unlined and the skirt has a chiffon inner skirt. It closes with a hidden set back zipper. The shoulders have light padding. Tagged a modern 42. The easy cut should fit a range of sizes

Bust: to 20" flat across from side seam to side seam
Waist: to 17" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 35" from top of shoulder to hem

Modern Sizing Equivalent: SML-LRG

Item# DD4206

Reference Photos: Fall 2015 Isabel Marant Runway, Looks 16 & 33.

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 dress is from the Fall 2003 Dior Boutique Collection and is a staggeringly beautiful example of the work John Galliano was doing during this time period. It was featured in the ad campaign on Angela Lindvall that season in red and walked the runway on Ana Beatriz in white for Look 14 of the presentation. I love having all these reference photos for you so that you can see just how amazing the dress is. It is just spectacular and one of my favorite Dior pieces to have come into the shop.

The dress is made out of a stretch silk feeling fabric that hugs your curves amazingly once on the body. A wide strap extends out from the sides and curves around the back of the neck. The bust dips down and is gathered in and towards the center. This gathering extends from five separate horizontal panels stacked on top of each other and brought into the center knot to emphasize the breasts. Below that he continues to play with this horizontal panel and knot idea bringing that gathered feel down in three other spots on the front of the dress. Panels of fabric are set on curves and angles which allow him to help shape it around the body. It has a touch of a 1940s dress feel to it and is extremely sexy on the body. The back is a simpler version of the front with no knots present. The halter there dips down to leave your entire upper back bare. There is a small slit set off-side under the center of the very bottom knot at the front and this allows a little bit of added bare leg to show. It is incredibly good and a well documented piece of fashion history. Excellent condition

Unlined and closes with a hidden set side zipper. There are two fabric buttons to close at the back of the neck. No size tag present. The fabric does have some stretch

Waist: 15-17" flat across from side seam to side seam
Hips: 18-21" flat across from side seam to side seam
Length: approx 43" from top of neck to hem
Slit: 9.5" from hem up

Modern Sizing Equivalent: MED-LRG

Item# DD4207

Reference Photos: (1-3) Fall 2003 Dior Runway, Look 14. Model: Ana Beatriz Barros.  /  (4-6) Angela Lindvall for the Fall 2003 Dior Ad Campaign.

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

This gorgeous little dress is by the Italian designer Alberto Fabiani. His work is held in Museums around the world including The Met and they have a nice little summary of him that I will share here; 'Alberto Fabiani was a well-received Italian designer, rising to fame in the 1950s. He was known for his classic designs and flattering silhouettes. Interestingly, he married one of his contemporaries, Simonneta Visconti, previously Duchessa Simonetta Colona di Cesaro. Their design ideas were quite diverse, each fulfilling the needs of a different clientele." The dress is beautifully made and a fabulous example of Italian design during this time.

The dress is stunning. It is made from that really high end fine wool that you mostly see from this time period and just before. This fabric has a rich weight to it but still feels completely comfortable to wear when it's on the body. The shape is a study in simplicity. It has no collar and curves around the neck. It is notched into a V at the front and this allows some skin to show. At and around the base of the plunge is where that elaborate design sits. The design follows down the center of the dress all the way to about the waist or just past it. It is made from hand applied braided silk cord with a wired silk cord beside that and laid out into an intricate design. Interspersed among the cording are tiny seed beads, larger faceted beads and black crystals to catch the light. The dress is cut with soft shoulders and  meant to skim over the bust, waist and hips. The shape is created by vertical panels set on these beautiful curves at the sides. As it nears the hem it's flares out for that perfect sixties shape. The fabric is turned under at the hem to give both some allowance to be let down if needed and to also act as a slight added weight to keep the shape. Each sleeve follows that same basic shape where they fall from the shoulder and widen out as they near their ends. The ends are shaped into this little curve that comes up on the outside of the arm for a pretty little detail. Each sleeve has its own elaborate medallion that pays off the one on the chest. The majority of the work appears to be done by hand and it is a beautiful little dress. Excellent condition with a small note below.

Fully lined in a hand set black silk except for the sleeves. Some small repairs and minor shattering to the interior lining. Hand finished throughout and closes with a fine back metal zipper.

Sleeves: 20" and 12.5" around the upper arm
Shoulders: 14.5"
Bust: 18" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 39" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# DD4201

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 fabric used for the lower portion of this dress matches the Fall 2000 couture ruffled Chanel coat that I have in the shop and both pieces are from the same client. That said, I do not believe that they were purchased as a formal set because the numbered tags on each do not fall in sequential order like they normally would if that was the case. However, if you look at the runway photo for that look, you can see the similarities to the piece that was shown underneath the ruffle coat on the runway. There is a similarity in the top portion of the dress to Look 34 and we believe that this was a custom made piece whose fabric was chosen to give the option of wearing with the coat. True Haute Couture pieces by Chanel are an extraordinary find as they are so very rare and hard to come by. It is a beautiful example of the work that Karl was doing for Chanel during this time period and how a couture client could work with Karl to get the look that best suited her and her lifestyle.

This is a beautiful and chic shifts that can easily be styled to work for day or as an evening peace. The skirt is made from a rich black silk and it is immaculately tailored. The cut is very simple. It falls from an easy cut waist and then skims over the hips and narrows in slightly to the hem. Panels of silk are set vertically to create the shape of the skirt and the tailoring is immaculate. I love the slash pockets that are set low on the hip. Attach to the skirt is a sleeveless top that is made from precisely spaced knife pleats all the way around. The fabric has a slightly open woven look and feels like it is a mix of linen and silk. This gives it a slight touch of transparency over the inner lining. The effect is lightness and a touch of volume but without it being too transparent to wear. A softer panel of the silk runs from the top of the waist band and appears to circle back and behind the neck and then comes down and loops in under the bottom of the band at the waist. I just is a little unexpected detail. That soft collar also hides a rather low plunge for a bit of sexiness. The back of the neck is gathered and closes with three hand made fabric covered buttons. The top buttons to close below that but the buttons are all hidden under a pleat so that the line does not appear broken in any way. Is a stunning piece. Excellent condition

The top is hand lined in the same fabric as the exterior and the skirt is hand lined in a black silk. It appears to have been worn very little if at all. Appropriate Haute Couture label and numbered tape present. It is completely made by hand.

Bust: to 18" flat across from side seam to side seam
Waist: to 17" flat across from side seam to side seam
Hips: 19.2" flat across from side seam to side seam
Bodice: 14" from neck to top band at the waist
Skirt: 25" from top band at the waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4202

Reference Photos: Fall Chanel 2000 Couture Runway, Looks 20 & 34.

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

This is one of my favorite pieces from the Spring 2015 Saint Laurent runway. At this point Hedi Slimane was the creative director since joining in 2012. He would depart in 2016 but at this point his future still seemed firm. The collection was short and sexy. Vogue's review of the show ended by saying "this collection straddled Slimane's worlds: L.A. groupies in Paris couture. You know he gets off on that idea. He's not the only one. The energy was contagious tonight. "I was having an orgasm," we overheard a model-slash-writer pronounce on her way out the door." The runway version was deeper cut at the front but that did not stop this version being seen everywhere after. We found multiple photos of being worn by the 'It' girls of the time and it still feels as fresh and sexy now as it did then. I love it.

This dress is so easy to wear and so flattering. It just slips on, zips at the back and drapes and falls into place. The front falls into a fairly deep V and then the fabric is gathered in towards the center at the base of that V. This gives you shape without being tight and fitted. Just Kim over you in the most flattering of ways and you can see by all of the added reference photos how gorgeous it is once on. From the waist that flares out into the swingy sexy flirty little skirt. The skirt is cut to be short and the fabric is so light that it feels a little scandalous when it's on the body but it does cover you. The sleeves have that classic slight balloon feel to them and pouf out of above their buttoned cuffs. The red is the perfect red that will flatter most skin tones and those white dots that cover the silk just make the dress feel joyful. It's that perfect mix between girl next door innocence and sexiness. It's one of my favourite dresses from the time that Hedi was the Creative Director. It looks to have been worn very little if at all. Excellent condition

Fully lined in a red silk and closes at thew back with a hidden set zipper. Each cuff buttons to close with silk covered buttons. Tagged a 42. Appears to have never been worn or worn very little

Sleeves: 23.5"
Shoulders: 15"
Bust: to 18" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 34" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4196

Reference Photos: (1) Spring 2015 Saint Laurent Runway, Look 28. Model: Kiki Willems.  /  (2) Anna Ewers, in Saint Laurent, by Norman Jean Roy for Harpers Bazaar, May 2015.  /  (3) Natalie Joos, in Saint Laurent, & Giovanna Battaglia at the Laure Heriard Dubreuil Pop Up Shop at the Ritz Paris, July 2016.  /  (4) Christina Aguilera in Saint Laurent, May 2015.  /  (5) Marie-Pier Morin in Saint Laurent for Loulou Magazine.

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 interesting dress because it's from the Miss O label that Oscar de la Renta started during this time period for his younger audience. What makes it interesting is that a very near version of it walk the runway for the Fall 1988 show. You can see how he slightly changed the design to give it a bit of a younger feel and make it easier to wear. I've included that runway photo here for you said that you can see how fantastic it is on the body. It is a gorgeous little dress

The dress is made out of a soft black jersey fabric that has an almost T-shirt feel to it when you touch it. The fabric is gathered over the dress from the top of the bodice to the hem and all the way around the back. Vertical stitches give it a pattern within the pattern and extra interest. It is to cut to hug the body and the neckline is cut flat across the front. Wide black velvet straps curved over each shoulder and attach to the back. From the front it's a fantastically fitted dress that shows off all your curves and has the interest from the gathering. At the back is where it gets spectacular. A black panel runs over the zipper and onto that panel are seven floral buttons that have rhinestones set inside and into the buttons. This creates a beautiful bit of flash and glitz at the back. Under that there's an inset of black lace lined in a nude chiffon for a sexy little kick as you walk away. It's very chic and sexy. Excellent condition

Bust: to 17" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: to 17" flat across from side seam to side seam
Length: 36" from top of shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD4194

Reference Photo: Fall 1988 Oscar de la Renta Runway.

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 set in a different colour walked the runway for the Fall 2000 show for Look 11. My client ordered hers in black and that simple colour change makes it incredibly timeless. The suit is beautiful and so chic. I also have Look 17 from the show in the shop that has a longer jacket from the same client. True Haute Couture pieces by Chanel are an extraordinary find as they are so very rare and hard to come by. It is an incredibly beautiful and historically important example of the work that Karl was doing for Chanel during this time period. It is absolutely gorgeous to see in person.

I love that this is a suit with a dress and jacket rather than a jacket and skirt. It makes it so versatile and you can mix and match both pieces and wear them in so many different ways. Both of the pieces are constructed from a find black wool that has a touch of texture. It is absolutely beautiful. The inner dress is cut in the sleek and simple shift that skims over the body and flares out slightly as it nears the ham. Clever and subtle seams shape the dress around you so that it's very flattering. I love the seaming detail at the neck to give it the feel that the fabric crosses over itself. It is hand lined in a rich black silk so feels like heaven on. The jacket slips over that and has slight shoulder pads for a touch of structure and the sleeves are long. It has meticulous seaming set in curving lines to create the shape that you see. There is a simple hook and eye closure at the neck and two functional pockets on each side. It is hand lined in that same high end black silk and there is a signature Chanel chain set around the hem. What really makes it exceptional is that ruffled piece that goes from the neck right to the hem. The ruffle gradually narrows down as it reaches the bottom hem and this adds an unexpected touch of detail and softness to the jacket. It also creates movement as it slightly moves as you move. On the dress this same fringe detail circles around the hem. When the two pieces are worn together this extra little detail softens the feel of the set and gives it a nice pretty and romantic touch. This is a stunning and timeless example of Chanel's Haute Couture work. It is meticulously made and it is a beautiful piece showcasing the work that the Chanel ateliers are capable of and of Karl's time there. Excellent condition.

Both the dress and the jacket are hand lined in a fine black silk. The dress closes with a back hidden set zipper that follows along an offset seam so that it looks to have no closure at all. The jacket has a hook and eye at the top of the neck. It appears to have been worn very little if at all. Both pieces have an appropriate Haute Couture label and numbered tape present. Both pieces are completely made by hand

Jacket
Sleeve: 23.5"
Slightly inset shoulders: 15"
Bust: 19" flat across from side seam to side seam
Waist: 20" flat across from side seam to side seam
Hips: 22" flat across from side seam to side seam
Length: 24" from neck to hem

Dress
Bust: to 19" flat across from side seam to side seam
Waist: 18" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 38" from shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4177

Reference Photo: Fall 2000 Chanel Haute Couture Runway Collection. Look 11

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 interesting dress because Yves used the same pink feather styling that he did in this collection for a longer but very similar Haute Couture version that season. On the runway this dress was styled with a pink feather collar and then produced without. From a practical stand point it does make it far easier to get multiple wears out of it. It otherwise is identical to the runway version in design. Yves was a designer who mixed and matched ideas from couture to ready-to-wear with ease. More so than other designers I find. Sometimes the crossover details like this one has are just fascinating to see because of that. It is also a great way to get the design and look of a couture piece at a the price of ready-to-wear. The dress is absolutely gorgeous and I'm happy to have a video reference as well as photo reference so that you can see just how beautiful this is on an actual body.

The dress dips into a V at the front and skims over the bodice to meet the slightly high set curved seam at the waist. A wide black silk satin ribbon wraps around the waist following the curved seam. Where it meets in the center there is a large bow with five loops and a knot in the center. Under the skirt falls in three tiered layers of a black textured silk chiffon what a fourth layer acting as a lining under all of those. The top layer has extra fabric in the center and dips down for a pretty line that helps give the illusion of length. It also add some more chiffon that can float and move around you when you move. The layering of the silk makes it opaque enough to wear but still allows for the transparency and the lightness of the fabric to be apparent. The sleeves are beautiful. Each one poufs above an elastic cuff. Under the elastic there is a full circle ruffled cuff with two more layers of the silk for the prettiest feminine finish. In theory you could have a tailor or seamstress add a button in collar made of pink feathers if you really wanted to emulate the look of the runway piece. Either way the dress is absolutely gorgeous. Excellent condition with one small note below

Fully line in a black silk through the bodice. The skirt has an inner lining of silk chiffon. It closes with a side set zipper that goes up and into the underside of the arm. And waist stay hooks to close. Elastic in each cuff. Tag and YSL 38. It looks like the bodice at the V was taken in a bit. Please see the photo after the label shot.

Sleeves: 26"
Shoulders: no true shoulder seam
Bust: 16.5" flat across from side seam to side seam
Inner waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 14" from top of bodice to inner waist stay
Skirt: 25" from inner waist stay to hem

Modern Sizing Equivalent: XS-SML

Item# DD4167

Reference Photos/Video: Fall 1993 Yves Saint Laurent Reference Collection.

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

This is a remarkable example of Courreges and the work that Andre was doing during that time period. I know we often associate his work with very mod and short pieces but he also did many dramatic pieces in fabrics like this. It is just incredible and the photos don't come close to conveying how beautiful it actually is in real life. I am sometimes more excited to find these bolder and more unusual pieces from him then the more common mod feeling ones. This one is also numbered on the back of the label. It is just gorgeous.

This beautiful dress is made out of a black silk chiffon and then it has a floral design that it's fused onto the silk. The colours that are used are absolutely gorgeous. They range from this deep fuchsia and pinks and then they slowly change to soft corals and even pale lavenders in parts. The velvet has a glow to it so the effect of the velvet popping off of the transparent silk chiffon is this fantastic play of texture and colour that has to be seen in person. Many of his pieces are a play on volume and proportion and this dress is an amazing example of that. It is a dramatic piece that is cut with a dropped waist much like a twenties piece would be. This blouses over an inner seam set around the top of the hips. The neckline is squared off at the front and again at the back. I love how it is edged in a little black velvet ribbon. Running across the front of the neckline is a skinny little velvet strap that has a flat bow at its center. Each sleeve is full above its own skinny little velvet ribbon edging. The blouse is full and easy and skims over you to that low drop scene under the seam the skirt falls from there and is actually quite full. When you're standing still it hangs straight but when you move you get this beautiful volume and floating affect around you. There's a little attached velvet ribbon on one side of the head that wraps around to tie in the bow on the other. I would love to play on transparency that you get there is a lining inside but you still have this feeling that there's a slight transparency between the flowers. This is Address that really only comes to life once it's on the body as pretty as it looks in the photos it's really when you see it in real life and you realize how much flow the bias cut fabric has how much drape the dress has and how much movement it will have once it's on the body. It's spectacular. It looks to have never been worn or worn very little. Excellent condition

Fully lined in a single layer of silk chiffon through the bodice and has two layers of chiffon through the skirt. Slips over the head to wear and has elastic through the seam at the top of the hips. You can use the ribbon to tighten it further around your hips. Taged a Courreges zero and has a numbered tag on the back of the label. It appears to have been worn very little if at all. The easy cut should allow it to fit a variety of sizes

Sleeves: 14" and the ends are 10.5" around
Shoulders: 15"
Bust: to 20" flat across from side seam to side seam
Waist: open
Elastic seam at top of hips: to 23" flat across from side seam to side seam
Bodice: 22" from top of shoulder to elastic seam at top of hips
Skirt: 29" from elastic seam at top of hips to hem

Modern Sizing Equivalent: XS-MED

Item# DD4149

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 a stunning set whose twin walked the runway that season. The set is incredibly beautiful and chic once on the body. Vogue noted that "The reinvention of the iconic Chanel suit began with fluted knee-length coats, worn, with ropes of glistening pearls at the neckline" and closed by stating that "This was a triumphant collection for Lagerfeld, as realistically wearable as it was dreamily desirable." I love that we found both runway photos and some video footage for you to see how dynamic this is on the body. True Haute Couture pieces by Chanel are an extraordinary find as they are so very rare and hard to come by. It is an incredibly beautiful and historically important example of the work that Karl was doing for Chanel during this time period. It is absolutely gorgeous to see in person.

I love how diverse and different this set feels depending on whether you wear the pieces together or separately. The set is made up of two pieces. A gorgeous to-the-knee coat with a chic little dress underneath that. Both of the pieces are constructed from a surprisingly light weight deep blue boucle. This fabric was actually a centerpiece of the show and a new step forward in the way they made their tweeds.  Karl wanted them to feel almost weightless and easy to wear once on the body. The dress mixes that with a silk chiffon bodice to carry on the feeling he strove for with these pieces. “Fragility,” he said. “Everything is almost weightless.” The inner dress is cut in the sleek and simple shape that skims over the body and flares out slightly as it nears the hem. The skirt is made out of the same deep blue tweed as the jacket and then the top is attached to that and is made out of a deep blue silk chiffon. The top is all about delicacy. It is made of two layers of the silk. Each sleeve is long and ends in a neat little buttoned cuff. Both the front and the back are detailed with flat knife pleats. I love how the front of the skirt dips up into the top and at the back it dips down. This little shaping detail just make it lie even better on the body. The workmanship is stunning. The coat slips on over that and has light shoulder pads for a touch of structure. The sleeves are long. It has no closures except for a hook and eye at the neck. This allows it to flare out around you and gives it a softness as you move. The jacket is incredibly detailed. It has four top set pockets on the front and each has a row of glass beads along the upper edge. The same glass beads circle the hem of each cuff and go around the collar. The glass beads cleverly act as a weight for the coat so that it always falls perfectly once on the body. I love the low scoop of the front neckline and the ribbons that sit at the base of the neck. You can just let them hang loosely or tie them. Ribbons also sit on the edge of each sleeve and again you can leave them loose or have them tied into a pretty bow for a more formal feel. The jacket and the skirt of the dress are lined in a high-quality black silk. This Chanel set is exceptional and is true Haute Couture. It is a beautiful piece showcasing the work that the Chanel ateliers are capable of and of Karl's time there. Excellent condition.

Both the skirt of the dress and the jacket are fully lined in a fine black silk. The top is made from two layers of silk chiffon. The dress closes with a series of silk covered buttons at the back and each cuff has two silk covered buttons and loops. The jacket has a hook and eye at the top of the neck and at each cuff. Both pieces have an appropriate Haute Couture label and numbered tape present. Extremely faint spot on the front bodice. Slight pilling here and there on the jacket but I am being picky.

The Chanel boucle is created with their proprietary method of weaving that they themselves describe as "by weaving the warp and weft, using a variety of different kinds of threads which creates a unique and somewhat irregular appearance. The warp – vertically strung – is the background of the fabric, the base that will support the assembly of materials. There can be up to 12 different threads used for a single warp. The weft – woven horizontally – gives the fabric its unique character and can have an unlimited number of threads. Tight, perforated, textured, thick, with a relief, plaited, random, twill… the potential number of effects is endless". This technique gives you that classic Chanel look.

Jacket
Sleeve: 24"
Slightly dropped shoulders: 16.5"
Bust: 19" flat across from side seam to side seam
Waist: 19" flat across from side seam to side seam
Hips: 21" flat across from side seam to side seam
Length: 39" from neck to hem

Dress
Sleeves: 22.5"
Shoulders: 15"
Bust: to 19" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 38" from shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4147

Reference Photos/Video: Spring 2003 Chanel Couture Runway, Look 3.

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

Pauline Trigere launched her label in 1942. She was from Paris and moved to the US in 1937. That early French influence showed throughout her career. In 1949 she was awarded her first Coty award. She won it again in both 1951 and 1959. The 1959 win coincided with being inducted into the Coty Fashion Hall of Fame. She was a pioneer in the use of cottons and wool for evening and her work with silks is wonderful. In 1961 she made headlines for being the first major fashion house to use an African American model. This is a stunning example of her later work and it is gorgeous.

The dress has a similar feel to that magical Loris Azzaro I just showcased on my Instagram on a bride. It is like a magical fairy tale version of all that was amazing about this time period. It is made out of a black silk base with a double layer of black silk netting over that. The top layer of netting has these fabulous little black velvet dots fused onto it. The cut of the dress is beautiful. The bodice has an inner silk piece that leaves the upper chest shoulder and arms bare under the netting. It skims over you and and is seamed in at the waist. The skirt sweeps out from there and is gathered into the waist seam for fullness. I did not use any extra crinolines under it and if you wanted to add one you could get an even fuller look. The sleeves are magnificent. Each one is cut with tremendous volume and a huge and elaborate pouf to the upper parts of them. They narrow down to the cuff and this gives them all the drama that you see. They are the perfect finish to this high fantasy dress. The workmanship is fantastic and it is absolutely beautiful. Excellent condition

Fully lined in a black silk and closes with a back zipper and buttons above that. Each sleeve snaps at the cuff.

Sleeves: 25"
Shoulders: 15"
Bust: to 19" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: open
Length: 44" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4131

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

Geoffrey Beene was one of the great American fashion designers and he was recognized for both his artistic and technical skills. He launched his label in 1963 and a piece from his very first collection landed the cover of Vogue. A Coty award followed a year later and in 1984 the Council of Fashion Designers created the annual Geoffrey Beene Lifetime Achievement award in honor of Beene's fashion legacy. This dress is from one of his early labels done to reach a younger audience and it is literally one of the cutest sweetest dresses I have ever had in the shop

The dress is a riot of print and colour and I love it. The bodice is done in a deep blue that has white and soft grey dots. It is cut to skim over you and then the neckline is cut wide. If you are small through the shoulders you might even get away with wearing off the shoulder. The sleeves are barely a cap and they are finished in the same joyful ruffle that the neckline has. The waist cinches in and is set a bit higher for a slight empire feel. The dress comes with its original striped belt that lets you cinch it in even more. Under that is cutest skirt with a vivid floral design in a riot of colors. The three patterns should not work together but they do. And the skirt even has pockets. Great condition with one note below

Unlined and closes with a hidden set side zipper. The belt hooks to close. There is some fading to the fabric at the top of the shoulders that you don't see once it is one due to the volume of fabric there. Please see the photos after the label shot. The belt shows a tiny bit of normal wear to the back.

Shoulders: 15"
Bust: 16.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 12" from top of bodice to waist
Skirt: 24" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4129

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 Nina Ricci brand was founded in 1932, at 20 Rue de Capucines in Paris and quickly became one of the top couture ateliers in the world. In 1964, Gérard Pipart succeeded Jules-François Crahay, Nina Ricci's former designer assistant, as head of the brand. Over the following three decades, Pipart's couture vision 'celebrated a flamboyant woman and his ready-to-wear found a loyal following among the most stylish women of the day.' This dress Is one of his more quirky pieces and I am obsessed. I have had piece in the shop in the past that has this faux handbag applique but they were all from the 50s and 60s when that was a bit of a rage. I loved finding this 1980s designer version.

This dress is so eighties in every way and I love it. I am almost sad at how it photoed on the mannequin because on person its so much better. And these on the body are fabulous. Dresses like this really need a person in them to come to life. The dress is made out of a fine black wool that has a silk like finish to it. The fabric choice helps to hold the shape and support the applique work done onto it. The shoulders are set wide and there is light padding underneath. Each sleeve is gathered at the top of the shoulder and is meant to pouf a bit. The sleeves narrow down to a gathered cuff that hide a zipper. The body of the dress is full and easy with no defined waist. It simply falls from the shoulders so that the volume is on the top and then narrows down to skim over the hips to a pencil cut skirt. Then appliqued onto the dress is that fabulous faux bag that crosses over one shoulder and down to the hip. The strap is a wide silk textured ribbon that is finished in a flat bow at the top of the shoulder. This angles down to meet the 'bag' made out of a metallic embroidered velvet. The upper edge of the bag is gathered in and finished with a ruffle of a bright blue silk for an unexpected pop of colour. Anther bow sits below that. The best part? It is open at the top so that it is a functional pocket. The final little detail is the inside lining of the collar. It is the same blue as the ruffle on the bag. I love this little hidden secret. Excellent condition

Fully lined in a black silk and closes at the back with a zipper. Padding in each shoulder and a hidden zipper at each cuff.

Sleeves: 24"
Shoulders: 15"
Bust: 18.5" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 40" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4104

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 incredible dress that is the twin of the dress that was Look 5 from the Christian Dior Pre-Fall 2011 collection. This collection was shot as a lookbook which gives you an amazing glimpse into his styling process. At the time Dior said this of John's collection: ”Dior’s Fall ready-to-wear collection takes its inspiration from the legendary love affair between Mrs. Wallis Simpson and Edward VIII. English romanticism is channeled into Balmoral fringed tweeds and candy-coloured tartans with Prince of Wales checks. Ultimate luxury and expertise create evening glamour in elegant draped gowns and head to toe sequins to ensure that every head is turned.” Vogue commented that: "John Galliano galloped the Duchess of Windsor through This Is Your Life, with richly hued musings on what Wallis Simpson in her prime might've worn at specific times of day and across the decades." For the lookbook the Dior team took these pieces and styled them in lavish settings to play on this theme making them feel thoroughly Galliano. This was one of the best pieces of the collection and I love having the photo reference from that lookbook so that you can see just how creative it can go styling wise. This was John's second last collection for the house before being dismissed and his last where he was present for its presentation.

The dress is a play on a flapper dress with a soft tartan inspired check blown up to be oversized and then softened with more pastel coloured version of red and blue. It is printed on a silk chiffon to further soften the feel of the print and give it a romantic vintage feel. The dress has the same long lines as a flapper dress but with a far more sexual twist. It can be worn longer and more straight on the body or you can hike it up to be super short and have that incredible top blouse over as I have done in the majority of these shots. The front is plunged right to the waist and then crossed over itself at the base where it meets the seam. I photoed one front, side and back shot with the dress fully extended down so you can see the full lines of it. The triangles of the two bust pieces extend up and around the neck where it ties into place leaving the tie to trail down your back. The back is left completely bare and it is scooped open right to the waist where is blouses out slightly. It is meant to convey the decadence and abandonment of the twenties with the feeling that with the slightest movement you will fall out of the dress. Yet it has a genius cut so that you are covered. A band of silk gathers and wraps around you at the top of the hip and this is what allows you to pull the dress higher or lower on your hips. The skirt falls under that in a flaring flirty bit of fabric that has tremendous movement. I love that he still worked in his signature tightly spaced silk covered buttons down one side and how there is a little bow at the top of the skirt on each hip. These little details are always what makes a Galliano designed piece that much more special. The last detail is the green and red lace that edges the dress. It has been stiffened and has deliberate raw edges to further play on that feel of the dress being a piece from the past. It is laid out over a band of ivory velvet and this last little touch ties everything perfectly together. It appears to have been worn very little if at all. Excellent condition with a minor note below

Fully lined in a fine pink-salmon coloured silk. It closes with the buttons down the side and ties around the back of the neck. At some point someone added a snap under the front where it crosses to make it a little more secure. I have left it but it could easily be removed if you wished. I see a bit of residue on the lining of one halter where a double sided tape was used. Tagged a Dior F 36, GB 8, IT 40, US 4. Note that this was very difficult to measure and depending on where you want the band to sit it should fit a range of sizes

Bust: no true side seam and each halter will easily cover a full range of cup sizes
Waist/top of hip at seam: 17" flat across from side seam to side seam and expanding to 17.5 at the bottom seam of the band
Bodice: to approx 21" from top of bodice to top seam of the waist/top of hip
Band: 4"
Skirt: 14" from waist to longest points of the hem

Modern Sizing Equivalent: XS-MED

Item# DD4036

Reference Photo: Pre-Fall 2011 Christian Dior, Look 5. Model: Alina Baikova.

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 Vogue review of the Spring 2003 show was done at the height of Ford's vision for Gucci and he could do no wrong in their eyes. The review said 'The Gucci girl’s got legs—long, tan, flawless ones striding along on silver peep-toe sling-back pumps. Follow them all the way up, and around two weeks later, they eventually meet the hem of the minutest piece of clothing that was ever called a skirt or dress. For spring, in a word, Tom Ford says short. Using lustrous fabrics in subtle makeup colors from blush to tawny brown, pearly gray and silver, Ford draped and wrapped his gorgeous girls in clothes that navigated that dangerous Gucci line between innovation and vulgarity. The tousled hair, the jackets and tops poised to fall off shoulders—the whole presentation stirred sensations that fashion hasn’t felt since the last days of the great supermodels. Still, don’t think tacky. Ford’s obsession now is integrating fine workmanship into abbreviated silhouettes." The feather dresses were mentioned specifically; "He brought couture finesse to racer-back feathered dresses with the merest flip of a skirt....it was a confident statement in the power of glamour. And fashion needs that.' To this day this is one of the most recognizable and desirable of his shows to find and collect pieces from. This is the twin of Look 27 from the runway and it is an exceptional piece of Gucci History. It was also featured in Vogue that season on Natalia Vodianova

When researching this look I came across a few references that declared this dress one of the top ten Gucci Tom Ford pieces. While you often see the other version of this dress in a brown and white feather, this pale yellow version that is the twin of the runway dress shown is a true rarity. One of the things that makes this dress exceptional is that it is true to the runway. It is also entirely original and according to the former stylist that it cane from was never worn. The dress is meant to be worn very short and daring. Once on you just see miles of legs topped by this extraordinary piece. The top plunges low at the front and the back curves in to create a sexy racer-back. It skims over the waist and hips and then flares out at the skirt. The skirt is actually two tiers of feather detailed ruffles and this extra little flounce gives it movement when you move. The body of the dress is made from two layers of virtually weightless silk with a silk grosgrain ribbon edging and detailing the lines of the design. It has an almost twenties feel to it and it is fantastic. The feathers are a mix of a dyed soft pale yellow mixed with some soft light taupe natural feathers for depth and interest. I took a photo of the back of the silk of the skirt and you can see that each feather was hand applied and fused into place onto the silk. Hence the couture reference in the Vogue review above. It snaps to close under the ribbon at the side so there is no break anywhere with a zipper. It just looks like it somehow magically formed around you. It is an incredible piece of the Tom Ford history with the brand and is one of the most recognizable pieces from his tenure with the label. It appears to have been worn very little if at all. Excellent condition. 

Fully lined in a pale taupe nude silk chiffon and has hidden set snaps at the  side to close. Tagged a YSL 42. Some of the ends of the feathers have separated a bit on the natural spots it curves but this is just part of aging for a piece like this. I don't consider this a flaw but its mentioned for accuracy.

Bust: approx 16" flat across from side seam to side seam with open sides. each halter is 6" wide at its widest point
Underbust - waist: 13.5" flat across from side seam to side seam
Seam at top of hips: 16.5" flat across from side seam to side seam
Length: 30" from neck to hem but can be pulled up as short as you want

Modern Sizing Equivalent: XXS-XS

Item# DD4001

Reference Photos/Video: (1-8) Spring 2003 Gucci Runway Collection, Look 27. Model: Louise Pedersen.  /  (9) Natalia Vodianova, wearing Gucci, Vogue, February 2003. Photo by Steven Klein.

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 set walked the the Fall 1984 Haute Couture runway and was worn by supermodel Kirat Young. It was also photoed that season for what I believe was an editorial shoot. I have included those reference photo here for you so that you can see how amazing it is on the body. Emanuel Ungaro launched his label in 1965 after working for both Balenciaga and Courrreges. He was a brilliant designer who was known for his of extravagant fabrics and flamboyance. His Haute Couture pieces are not easy to find and this set is stunning and even better in person 

I always love a set because of the versatility you get with one. You can wear these together as shown or wear the dress on its own and mix the jacket in with pieces you already have. The dress is particularly amazing. It is cut in that signature Ungaro silhouette for this time period. He made these dresses to hug and highlight every curve of your body. The dress is made out of a silver silk velvet that has a metallic silver and gold foil worked through the fabric. This gives allows it to catch the light from every angle but it feels subtle and not garish. The fabric is hand draped and stitched to give it an incredible soft pleated texture. The bodice has a highly modified sweetheart shape with one side set at a high peak and the other in a soft curve. The gathers are shaped to follow the line of the bust and emphasize the breasts. On the side that it zippers to close on there is a strip of hand applied beads and sequins that run down the full length of the dress for extra detailing. The jacket is made from an ivory lace that is hand applied over an ivory silk. Onto the top lace layer is a mix of embroidery work, little silk appliqué pieces, rhinestones and faux pearls. The shoulders are padded and the top of the sleeve is gathered around the shoulder so you have fullness there. They narrow from there to the wrist. The waist is brought in and shaped with vertical seaming and the hips flare out dramatically. There are no closures on the jacket, it is meant to just slip on and sit over the dress. It is finished with a dramatic Ostrich and silver foil feather border that that wraps around the neck, down the front and all the way around the hem. Both pieces are completely made by hand and the proper Haute Couture numbered tape is present. It’s gorgeous. Excellent condition

The dress is hand lined in a ivory silk and closes with a hand set side zipper. The bodice is boned. Interior waist stay hooks to close. The jacket has no closures. Padding in each shoulder. I see minor marks on the interior lining of the dress and perhaps a slight grubbiness to the inner arms of the jacket. Please see the last photo after the label shot.

Dress
Bust: 16.5" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Bodice: 9" from top of bodice to waist
Skirt: 25" from waist to hem

Jacket
Sleeves: 23"
Slightly extended shoulders: 16"
Bust: to 20" flat across from side seam to side seam
Waist: approx 14" flat across from side seam to side seam
Hips: approx 19" flat across from side seam to side seam
Length: 32" from neck to hem, including the feathers

Modern Sizing Equivalent: XS-SML

Item# DD3367

Reference Photo: (1) Fall 1984 Emanuel Ungaro Haute Couture. (via @only_french_couture).  /  (2-6) Fall 1984 Emanuel Ungaro Haute Couture Runway Show. Model: Kirat Young.

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

Paco Rabanne was a Spanish designer who became known as the 'l'enfant terrible', or unruly child, of the 1960s French fashion world. He began his career making jewellery in unusual materials for many of the French couturiers. In 1964 he was only 30 years old when he presented his first official collection. In 1966 he had his breakout show: 'Twelve Unwearable Dresses in Contemporary Materials.' and it was with this show that he found his calling. The Met museum noted that 'unlike Pierre Cardin and André Courrèges, who employed traditional couture techniques for their "futuristic" designs, Rabanne was interested in creating fashion with uncharted and imaginative production methods using novel postwar industrial materials.'  After a few attempted revivals the label is doing very well under Creative Director Julien Dossena. He has been integral with giving new life to the brand. 

The Paco Rabanne pieces made from a fine Oroton metal mesh were a spring board from the earlier chain mail examples and were heavily sought after and collected - then and now. This is a classic design that has been re-issued a couple of times since Julien came on board. My client bought this a few years ago and there is an identical gold version coming soon to the Paco website priced at $6400USD. 

The dress is completely made from a gold metal mesh. The mesh has a good weight to it but settles onto the body wonderfully and feels spectacular once on. The metal is very cool at first but once your body heat warms it up, it stays at your body temperature and feels quite sensual. The dress is fairly simple yet complex in its design. You slip it on and it drapes loosely across the shoulders and plunges under the arms. Snaps run along the top of one shoulder and then it snaps to close down one side. The snaps are spaced looser apart along your side but then when it hits the hips the snaps are placed closer together. This causes the fine metal mesh to have a draped effect and hikes the dress up on that side. It snaps to close at the top of the side of each waist. At the back it drapes over your curves in the most beautiful of ways. The mesh creates an almost bias cut effect so that is follows the movement of your body. It has just a touch of transparency to it cause by the tiny spaces between each piece of the mesh. On one side of the bust the mesh is fused together slightly differently to create the slightest illusion of a triangle pocket. It is just stunning and on an actual body it is even better as the mesh moves like molten liquid over you and catches the light from every angle. Exceptional. Excellent condition

It slips on and there are snaps on the shoulder and then along one side as described above. Each snap is engrave with the PR initials and the metal Paco Rabanne tag is attached at the back neck. It appears to have been worn very little if at all. Tagged a 38. It is cut looser through the top and narrow through the hips. Once on the waist does drape over a bit 

Bust: 18" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Hips: to 16" flat across from side seam to side seam
Length: 38" from shoulder to shortest point of hem, 44" to the longest.

Modern Sizing Equivalent: XXS-XS

Item# DD3909

Reference Photo: From the Paco Rabanne Website.

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 exceptional silk taffeta dress is by Marc Bohan for Christian Dior. It is from the Fall 1985 collection. In the 'Dior Catwalk' book, they include a write up from WWD that said the collection felt; 'young at heart, naughty and smart-chic'. They went on to note that many of the pieces on the collection were designed so that the 'hips are wrapped for attention and the knees are revealed'. The dress is a wonderful example of that young feel he was after and it is certainly a dress that is a reflection of its era. It is also a stunning example of his work during this time period. The dress is made even more special since we found a runway shot of the twin of the dress. For the runway it was styled with a lace mask and a pin nestled in the ruffled shoulder. It is an exceptional dress. 

The fabric of this dress is fantastic and no matter how great it looks in the photos you will love it even more in person. It is made out of a black silk taffeta whose underside in a silver pewter that has a bit of a metallic feel to it. This creates an incredible effect with the ruffles that cover the dress. As they move and flip over themselves you see the silver grey colour and the effect is fabulous. The fabric is light in weight and despite the elaborate construction of the dress is not at all heavy once it is on. Inside the dress has light boning through the bodice to give you some support. The bodice is cut with a modified sweetheart neckline and it is meant to hug the body. It is elaborately gathered and fitted around the bust with all of the gathered folds coming in to the seams that run over the bodice at the front, back and sides. These emphasize your curves and it make the dress very flattering once on. There is a huge and elaborate ruffle that curves around and under the arm and covers the one shoulder while the other is left bare. This gives the dress this fabulous shot gf glamour. More ruffles completely cover the skirt. These ruffles are set all the way around the skirt in a series of vertically placed silk panels. Each panel has been individually set onto the skirt to create the exaggerated ruffled effect that you see. The way they are set onto the skirt allows each piece to sit off of the skirt to create that fabulous volume. I really fluffed them up for the photos and the silk taffeta choice helps to hold the shape that you place it into while still being soft and not stiff. It is gorgeous and I love that we found the reference photo so you can see just how fabulous it is one. The dress appears to have been worn very little if at all. Excellent condition.

Fully lined in a black silk and closes with a side set zipper. The interior of the bodice is boned for support. It appears to have never been worn, or worn very little.

Bust: 17.5" flat across from side seam to side seam
Natural waist: 14" flat across from side seam to side seam
Hips: to 21.5" flat across from side seam to side seam
Bodice: 17" from top of bodice to waist
Skirt: 21.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3841

Reference Photo: Fall/Winter 1985-86 Christian Dior Runway.

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 little Yves Saint Laurent dress has such a joyful feel to it. I am always excited to find examples of Yves' work from this time period and this one is extra special because it is the twin of the dress that was shown on the 1983 runway. We also found a editorial shot from that season with the same dress in a solid colour that was shot for L'Officiel magazine. I love the solid colour version as well but the printed one just has so much colour and joy to it I can't help but love it a little more. 

This is a gorgeous little day dress that you could easily style to work into the evening, especially during the warmer months. The colours are amazing and absolutely pop off of the cotton fabric that he chose for this dress. Cotton takes colour extremely well and it is the perfect choice to get these crisp vibrant tones. It also holds the shape well so that the dress has volume where Yves wanted it. Yves Saint Laurent was a master at choosing the fabrics that were the perfect compliment to the prints that he used. This dress is no exception to that rule with its riot of bright flowers covering its surface. The cut is pure Yves and a wonderful example of the work he was doing during this time period. The sleeves end just below the elbow and are cut with a full balloon sleeve pouf above their wide and easy elastic cuffs. The bodice is fitted with a V neckline at the front. The upper portion of the bodice is done in the same floral fabric as the sleeves and skirt but he then inset a blue fabric to define the waist and visually cinch it in. He then plays with proportion by adding a blue cotton peplum that runs all the way around the hips and flares outwards. Below that the skirt flares out with a pretty swing feel. The combination of the prints and the cut is genius. Excellent condition with a minor note below

Unlined and zips to close at the side. It is tagged a vintage YSL 36. It appears to have been worn very little if at all but there is some fading to the tops of the curves on the peplum. You notice it more when it is off the body and laying flat but not when on. Please see the photo after the label shot. 

Sleeves: 19"
Shoulders: 14"
Bust: 18" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 15" from neck to waist
Skirt: 25" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3653

Reference Photo: (1) S/S 1983 Yves Saint Laurent Rive Gauche Runway.  /  (2) Yves Saint Laurent Rive Gauche, L'Officiel, 1983.  /  (3) S/S 1983 Yves Saint Laurent Ad Campaign.

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

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.

Christian Lacroix launched his Haute Couture house in 1987 and his work was instantly revered world wide. He defined an era and he was crowned the King of Couture. A ready-to-wear line soon followed along with perfumes and menswear. His collections were always exotic and lavish affairs. He drew his inspirations from across the decades and I doubt there was ever a more high glamour couturier. This dress is very special and a stunning example of his work during this time period. It has all the signature Lacroix drama that you could ask for. It comes to me from the original couture client. The twin of this piece walked the runway that season. My client ordered hers in a slightly different shade of silk taffeta and the atelier changed the colour of the stone in the jewelled brooches to match this fabric selection. His couture pieces rarely come to market and this is an exception example of his work. 

The dress is beautiful. It is made out of an iridescent silk taffeta that changes colour slightly depending on how the light hits it. It can go from a deep bronze colour to an iridescent blue tone. Each sleeve is long and slim and cut to end just above the wrist. A row of five silk covered buttons runs up each wrist with working silk loops. The body of the dress is cut into a simple sheath and then it has been gathered up along one side and secured in place with that incredible huge brooch. The brooch is a gold metal circle that has large golden topaz glass crystals mixed with brilliant blue glass stones. The neckline folds over in a curve of fabric and is set very wide across the shoulders, angling down to leave one shoulder bare. The back is tremendously beautiful. That wide neckline from the front dips and angles down at the back to leave a large part of your back exposed. I love how the silk takes on a draped and wrapped effect as it is brought down to the point where the bare expanse of skin ends. Another huge jewelled brooch has then been pinned in place there to anchor the draping. Below that a stiffened panel of silk flares out dramatically to one side in a half bow effect. I have included some shots of the clever way the dress and back close and you can see the meticulous work that has been put into the piece to ensure it drapes perfectly. Excellent condition with a couple of small notes below

Fully lined in a black silk organza and closes with an elaborate mix of a zipper, snaps and hooks at the back. One flaring panel loops through the other. It is in wonderful condition with a few small things to note from normal wear. There is rubber ribboning along the neckline to hold it in place and this has changed colour here and there. There is one stone missing at the bottom of the front brooch. The brooches are removable and you can see little marks on the fabric under them where the pin has been pushed through in different places. There are a couple teeny pinhead marks on the fabric where the brooches have caught on the silk near the brooches. Very minor. It is really in stunning condition. Unlabeled and sourced from the original couture client

Sleeves: 19.5"
Bust: to 18" flat across from side seam to side seam
Waist: to 13.5" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Length: 36" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3602

Reference Photos: Fall/Winter 1990 Christian Lacroix Haute Couture Runway.

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 a softer, more romantic feeling version of the dress that Naomi Campell wore  for the ad campaign that year and Christy Turlington wore in Elle UK. Theirs were fitted all the way down to the hem where this one flares out past the waist and is detailed with a large bow at the front. The fabric used is the same for both. This version is perhaps more wearable for most and a little more forgiving then the very fitted silhouette of the other.

The dress is gorgeous and the fabric itself is part of what makes it so fabulous. It is far lighter then what it looks like it should be. The top layer of fabric is a open work lace that is shot through with a metallic thread so that is has a touch of glitz. The pattern in the lace is then detailed with curving rows of glossy black sequins. The bodice and hem are finished with a silk tulle ruffle. I absolutely love this classic YSL touch and it gives the dress a flirty, girlie feel that it would not have without that finish. The dress falls from the shoulder from little straps and I think that if it fit you perfectly you could probably have the option of tucking these on and wearing it as a strapless pieces. The edge of the bodice curves and plunges. It nips in at the waist and there is a large silk satin black bow set at the center front. There is no waist seaming, it just curves in and then flares out for the skirt. Everything about the cut of the dress is done to highlight the curves of the body from the way the ruffles are set on the bust to the curved lines of the skirt as it swings out and away from the body. It is wonderful. Excellent condition

Fully lined in a black silky rayon and closes with a side set zipper. Tagged a vintage YSL 40

Waist: 14" flat across from side seam to side seam
Hips: open
Length: 38" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3516

Reference Photos: (1-2) Naomi Campbell for Saint Laurent Rive Gauche, 1987.  /  (3) Christy Turlington in YSL for Vogue UK 1987. Photo by Patrick Demarchelier.

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

This is a beautiful example of Valentino's Haute Couture work that he was doing during the 1980s. The bow in particular was an important element of the collections that year and it is the highlight on this set as well. 

Both the dress and the jacket have been made out of a fine light silk crepe that is done in that signature Valentino red.  The dress is beautifully cut and unexpectedly sexy with its bare expanse of skin at the back. From the front it is a simple shift with a high neckline. Straps are set to curve up and over each shoulder, crossing over themselves and then are set into the small of the back. The back is left bare from the shoulder to the waist. The front bodice follows the shape of the body underneath and the skirt falls with a slight flare as it nears the hem. Piping at the waist to add some shape and definition. The jacket is fantastic and you will want to wear it as a stand alone piece as well as part of the set. It is cut to perfection with softly padded shoulders that are set wide and a nipped in waist. The fabric is all gathered in towards the centre of the waist and is highlighted with his signature black bow set at the centre. The jacket is in excellent condition and there is a note to review about the dress below

Both the dress and jacket are fully lined in a hand set red silk of very high quality. Proper finished buttonholes and jet beads on both cuffs. The jacket closes with hook & eye under the bow. The dress closes with a hand set zipper at the low back and the stars button and snap into place. Finished to Haute Couture standards and entirely done by hand. There is a very faint mark on the bodice of the dress. Please see the photos after the label shot.

Dress
Bust: 17" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 20.5" flat across from side seam to side seam
Bodice: 15" from neck to waist
Skirt: 21" from waist to hem

Jacket
Sleeves: 22.5"
Shoulders: 17.5"
Bust: 20" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 24.5" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD2839

Reference Photo: Models in Valentino. Photo by Guy Bourdin for Vogue Paris, 1985.

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