This fringed body suit is by Bob Mackie and it is a very unusual piece but one that perfectly reflects his costume designing side. Mackie was best known for dressing Cher and for his signature glamourous looks but he was also extremely active as a costume designer throughout his career. He worked for both Edith Head and Jean Louis prior to entering costume design and he began by co-designing with Ray Aghayan. That led to his incredible journey in designing for stars like Cher and Diana Ross for many years. In some ways he and his creations defined their careers and that era of glamour. His work always has that touch of the best of the bygone glamor of Hollywood. I have no information on this piece other then it is an earlier label when he would have went solo and that its original intention would have been for stage.

A modern girl could probably wear this out and make it work with the vast range of styles and looks that we have access today but it would have originally been a costume piece. I hope that one day someone might chance across what it was originally intended for. Either way it is an interesting piece for the collector.  It is a body suit that has had fringes added to extend the length and give movement. The body suit is covered in a black nylon jersey so that it has a bit of movement and stretch. It is vertically seamed all the way around which again gives it that ease of movement while still holding the body in place. The cups are shaped and there is padding added by hand inside for support and lift. It plunges low at the front and the front appears to cross over itself. This illusion is made even more so by the clear and black rhinestones edging the neckline and down the front. The straps extend to hook at the back of the neck. The back is scooped and there is a large brass zipper to close. The inner bottom is wide cut with elastic around the opening for each leg. More rhinestones circle the waist and come up to meet the ones extending from the neck and then he put a rhinestone edged bow on that hip. The fringes are set under that waist detail and the movement they have at your slightest move is incredible. It is fantastic. Excellent condition.

The bodysuit is interlined and slightly boned. Hand set padding in the bust and a partial waist stay that hooks to close to help hold it in place. It hooks at back of the neck and closes with a low set zipper. Hooks or metal end of stage costume size and weight so they're very sturdy. The zipper appears to be made of brass. Elastic through the leg openings. boning through the body suit. The gusset in clean and fresh. Hand finishes throughout. There are some sequin and rhinestones missing near where the hook closes at the back of the neck. Please see the two photos after the label shot

Bust: each cup is 6-7" flat across from side to side
Waist: 11-12" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Bodysuit: approx 30-33" from top of neck to inner seam
Full Length: approx 37" from neck to shortest point of fringes and 55" to the longest point

Modern Sizing Equivalent: XS-SML

Item# DD4322

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

The near twin of this gorgeous Spring 1996 Chanel dress was worn by Kirsty Hume on the Runway for Look 160. The runway dress was done in velvet and was full length and then this version was produced in a light weight wool silk mix done to mid-calf for the shops. Women's Wear Daily described the show as 'Karl hits the Mall' and this is the collection that the nipple covering micro bikini came fro. Karl said that it was a 'Little fantasy, a little glamour, optimism and brightness… a little shape is coming back to the body but they're soft curves – it's body-conscious relaxed'. This dress is definitely one of the body-conscious pieces and it is just a spectacular little black dress.

The dress is made out of a stunning light wool and silk that is light in but heavy enough to keep the structure. There is a slight ribbed texture to the fabric. It is so simple in it's cut but is so chic and elegant once it is on the body. It feels very much that perfect French origin Little dress. Two wide straps curve over the shoulders and the front neckline is done in a V. At the back it dip slightly lower with a more squared off feel. The front is shaped in a bit of a triangle feeling halter and there is a little two faux pocket on each breast. It buttons down the front with four Chanel logo buttons in silver and black. The waist nips in and it is defined even more with a slim belt that clearly says Chanel on its silver buckle front. The skirt falls under that in a neat little pencil silhouette with a vent the back for you to be able to walk. Also at the back are two more faux pockets for each have a Chanel logo button. I love the angled pockets on each hip and the zipper closure at the front. These little details just elevate the dress that much more. Once on this fits and hugs your curves in the best possible way. It is a beauty. It appears to have been worn very little if at all. Excellent condition with one tiny note below

 The dress is fully lined in a black silk. It closes at the front with the buttons and zipper as noted above. The belt is original to the dress and has a slip buckle closure. Tagged a vintage Chanel 40. The zipper has a slightly sticky feel.

Bust: to 18" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam and you can cinch with the belt that has three holes at 28", just under 29" and at 29 3/4"
Hips: to 21" flat across from side seam to side seam
Bodice: 15" from top of bodice to waist
Skirt: 34" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4316

Reference Photo: Spring 1996 Chanel Runway, Look 160. Model Kirsty Hume.

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 am very excited to bring you our latest mini capsule collection. This is one of nine dresses from a single owner collection. Her collection was lovingly sourced over decades and she has decided that it is time let them back out into the world for others to enjoy. For this capsule we have moved forward to the 1940s and 1950s. Really good examples from this era are becoming increasingly hard to find and these are all gorgeous little examples of that time period. This is just a tiny sampling of her overall collection and I hope to have more of these capsules for you in the future.

Irene Lentz dressed many of the stars in Hollywood during its heyday and her designs are still highly sought after. She started by doing made to order dresses and in 1947 added a ready to wear line. She had replaced Adrian Gilbert as the head of MGM costume design in 1942 so had built a large and loyal following in Hollywood which put her in the perfect position to launch this new part of her label. This is a stunning example of the work she was doing in the early part of the 1950s.

This pretty little dress has absolutely beautiful details. The skirt is a black silk taffeta and its cut comes over the hips and then widens out as it nears the hem. There is an overlay of the same fabric set over the inner skirt and this gives it more of a flare as it reaches the hem. The overlay is cut in so that the hem falls in soft curves all the way around you. At the back it meets on two curved panels and these just fold over. I feel like you could potentially tack them into the place that best works on you. The bodice is beautiful. There is a band of pale blue silk ribbon that wraps around you from the back to the front. At the front it is finished in a large flat bow that completely covers the bust area. Above that a nude mesh attaches that inner bodice to the shoulders so that it stays in place. That is then placed underneath a full bodice that is made of a fine black lace. The neckline is set wide across the shoulders and the sleeves extend out from there with no seaming along their tops to break the line. The lace falls loose and easy over the inner bodice and the back is scooped low for a touch of bare skin. It is so pretty. This is a very rare designer piece from this era. Excellent condition with a small note below

The skirt acts as the lining of the skirt as does the inner bodice of the top. It closes with a back metal zipper. I see stitch marks of where the back flaps may have been tacked into place at some point as described above. It's been left as found so you can place it where it works best on you. I also see evidence that the back bodice was lined in the nude chiffon but it has been removed at some point. I see a couple of storage marks on the inner nude chiffon of the front bodice and there is some grubbiness along the inner edge of the bodice. I see a very faint mark on the skirt at the side. These are all minor and it presents beautifully.

Bust: to 18" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Inner hips: to 21" flat across from side seam to side seam
Bodice: 15" from top of bodice to waist
Skirt: 28" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# D641

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 am very excited to bring you our latest mini capsule collection. This is one of nine dresses from a single owner collection. Her collection was lovingly sourced over decades and she has decided that it is time let them back out into the world for others to enjoy. For this capsule we have moved forward to the 1940s and 1950s. Really good examples from this era are becoming increasingly hard to find and these are all gorgeous little examples of that time period. This is just a tiny sampling of her overall collection and I hope to have more of these capsules for you in the future.

This is an exceptional example of the pretty sundresses that were being made in the late 1940s and into the 1950s. It has a touch of a Hawaiian dress influence and it is just the prettiest dress I have seen like this in a while. Really great examples of dresses from the forties are almost impossible to find anymore and this one is amazing. The fabric is very light and it feels almost weightless once on. The fabric is a deep blue - black silk crepe that has a pretty white flower print that runs over its surface. The print is set so that it wraps and curves around you and this only adds to the curves the dress creates. The dress is suspended from two wide straps made of the same silk and the bodice is cut to be fitted to your curves. The waist nips in and then the skirt curves over and hugs the hips and falls in a slim pencil cut to come out slightly at the hem. It has no vent which is how these dresses got their name... the bottom hem makes you have to take smaller steps hence the 'wiggle' that is created when you walk. Then, to up the glam, there are hand cut out flowers that are attached to the bodice and sprinkled around the waist and over the hip. These have been covered with hand applied sequins to catch the light. It is fantastic. Excellent condition with a small note below.

The dress is fully lined in a black silk and closes with a side metal zipper. The appliques are hand applied and sequinned. Each applique has a netted backing. There is a touch of sun fading to the top of one strap. Please see the photo after the label shot.

Waist: 12-12.5" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Bodice: 14.5" from top of bodice to waist
Skirt: 32.5" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# D642

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 am very excited to bring you our latest mini capsule collection. This is one of nine dresses from a single owner collection. Her collection was lovingly sourced over decades and she has decided that it is time let them back out into the world for others to enjoy. For this capsule we have moved forward to the 1940s and 1950s. Really good examples from this era are becoming increasingly hard to find and these are all gorgeous little examples of that time period. This is just a tiny sampling of her overall collection and I hope to have more of these capsules for you in the future.

Adolph Schuman started the Lilli Ann company in 1933 and named it after his wife Lillian. This dress is from one of the earlier labels and is from the earlier part of the 1940s. We know this because right after the second war ended Adolph went to Paris and the subsequent labels had 'Paris' added to them. The label was known for their beautiful work and this is a stunning early and rare example of their work.

This stunning little dress combines an inky black velvet that runs down the center of the dress and then the rest of the dress is a teal brocade that has an amazing detailing applied over its surface. The fabric is amazing. The detailing on it is a looped metallic ribbon that has a raised effect off of the fabric. It is set in swirling curves that follow the design in the brocade underneath. I’ve never seen anything like it. The swirling design gives an extra bit of detailing and adds a metallic glint to the entire surface. The cut of the dress is equally unusual. The two fabrics meet at the top of the shoulders with the black velvet set underneath. It is cut into a V at the front and the shoulders are set wide so they fall slightly to the edge of your shoulders. This then wraps around you to create another V at the back. At the front the wide panel of velvet extends down from there and runs down the center of the dress to the hem. The rest of the dress is made of the teal brocade and it comes up and wraps around the back of the neck. This creates this unique double neck and shoulder detailing that is gorgeous. It nips in at the waist and the black velvet at the center makes the waist feel even smaller. The skirt falls from under there and it is very full. I have shown it with a light crinoline underneath, but even without that, it is almost as full because there is so much fabric in the skirt. If you added more of an underskirt you could make it a true cupcake feeling dress. The colours are stunning and that fabric is beautiful. Excellent condition with a small note below.

The bodice is lined in a black silky rayon and the skirt is unlined. It closes with a back metal zipper and hooks to close at the back. I see a bit of flattening in the front velvet panel bit it is minor. It just makes the light catch the velvet in some spots differently than others. You can see it in the photos here.

Bust: to 19" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of bodice to waist
Skirt: 29.5" from waist to hem

Modern Sizing Equivalent: MED-LRG

Item# D643

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 am very excited to bring you our latest mini capsule collection. This is one of nine dresses from a single owner collection. Her collection was lovingly sourced over decades and she has decided that it is time let them back out into the world for others to enjoy. For this capsule we have moved forward to the 1940s and 1950s. Really good examples from this era are becoming increasingly hard to find and these are all gorgeous little examples of that time period. This is just a tiny sampling of her overall collection and I hope to have more of these capsules for you in the future.

The lines of this dress are so unusual and interesting. It is made out of an emerald green matte satin that is bright and true. The neckline is squared off at the front and it falls into a V at the back for a bit of bare skin. The sleeves are capped and short and come off of the shoulder in an easy curve with no top seam to break the line. It skims over the bust and then nips in at the waist. The shaping is all done through the vertical seam work that you see. From there it is curved over the hips and the inner skirt flares out just a bit by the time it reaches the hem. Wrapped over the skirt are these elaborate panels of the same fabric. It starts at the seam on one side of the front then the panel wraps all the way around the body and back to the front where it curves underneath to create a crossed over feel. The pleats and the way that they are set onto the skirt give it this very bombshell hourglass silhouette. There is even built in tulle under the panel on each hip to help lift and shape it. This is a dress, that on a girl who fills it out properly, is going to look 10 times better than how it does on my dress form. Excellent condition.

Fully lined in a combination of the same fabric and a black matte rayon. It closes with a back painted metal zipper. Built in tulle at the hips as described above.

Bust: 18" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 38" from top of shoulder to hem

Modern Sizing Equivalent: SML -MED

Item# D646

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 am very excited to bring you our latest mini capsule collection. This is one of nine dresses from a single owner collection. Her collection was lovingly sourced over decades and she has decided that it is time let them back out into the world for others to enjoy. For this capsule we have moved forward to the 1940s and 1950s. Really good examples from this era are becoming increasingly hard to find and these are all gorgeous little examples of that time period. This is just a tiny sampling of her overall collection and I hope to have more of these capsules for you in the future.

This is such a pretty spring dress from the David Hart label. It is just absolutely gorgeous and the fabric it is made out of is so unusual. The inner fabric is a cotton that has been printed with a swirling abstract flower design. This print is done in pretty spring colours and it covers the entire dress. Green, yellow and soft pinks are all mixed together in a floral explosion and it is quite beautiful. Then over and onto that is an attached outer layer of organza. This sits over the inner print and gives it that dreamy wash that softens the colour underneath. Sequins are then hand placed in a way that highlights the flower designs. These are scattered over the dress. This little extra detailing plays two purposes; It helps to keep the two layers of fabric perfectly together and it adds a sense of romance and softness to the dress. The neckline is set in a V that sits wide and right to the outer edges of the shoulders. The bodice skims over you and the nips in at the waist. The skirt is extremely full under that. I have added a light crinoline to show you the fullness to some of these photos. Even without that it is still very full in part because of the way it is seamed and it also has its own light underskirts built in. Excellent condition.

Unlined and closes at the side with a metal zipper. The sequins are hand applied. Built in light underskirts. It appears to have been worn very little.

Bust: to 18" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: open
Bodice: 14" from top of shoulder to waist
Skirt: 26" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# D645

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 am very excited to bring you our latest mini capsule collection. This is one of nine dresses from a single owner collection. Her collection was lovingly sourced over decades and she has decided that it is time let them back out into the world for others to enjoy. For this capsule we have moved forward to the 1940s and 1950s. Really good examples from this era are becoming increasingly hard to find and these are all gorgeous little examples of that time period. This is just a tiny sampling of her overall collection and I hope to have more of these capsules for you in the future.

This stunning little dress is from the Jobere label out of New York and it is made from a bright emerald dress silk satin mixed with a cotton muslin and beaded detailing.  This is a fabulously beautiful little labelled 1950s piece. It is very well-made. The colour is spectacular and I love the contrast the green has with that detailing that runs around the top of the bodice. The panel there is made out of a pale nude cotton muslin. Its edges are finished with hand done bead-work and prong set glass rhinestones. The neckline sits wide across so that you see the collarbone. It curves up and over the shoulders to create tiny cap shoulders. The green falls under that and there’s a bit of an illusion that it’s extremely low busted by the way the green is curved underneath the bust. The waist nips in and then the skirt flares out. The dress has its own built in underskirts so it is full on its own. For some of these photos I added a light crinoline but it is full even without. It is very pretty and fresh feeling. Excellent condition with a note below.

The dress is fully lined and has its own attached inner tulle skirts. It closes with a back zipper. The beads and rhinestones are hand applied. Slightest barely fade at the edge under the arm. There is light fraying to the very edges of the shoulders - please see the photos after the label shot.

Bust: 17" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Length: 42" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# D644

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 am very excited to bring you our latest mini capsule collection. This is one of nine dresses from a single owner collection. Her collection was lovingly sourced over decades and she has decided that it is time let them back out into the world for others to enjoy. For this capsule we have moved forward to the 1940s and 1950s. Really good examples from this era are becoming increasingly hard to find and these are all gorgeous little examples of that time period. This is just a tiny sampling of her overall collection and I hope to have more of these capsules for you in the future.

This stunning little dress is from the Jobere label out of New York and it is made from a deep blue silk mixed with silk chiffon and a pretty corded lace. It is beautifully made with detailing that runs around the upper portion of the bodice. It is cut wide across the shoulders so that it sits just on the outer edge of each shoulder. This leaves a bare expanse of skin across the neck and at the back it dips slightly lower. The bodice skims over you and then it nips in at waist with the shape there created by vertical seaming. The waist is detailed with panels of silk chiffon for a pretty softness. The skirt falls from under that and widens out as it nears the hem. I love the wide panel of silk that runs all the way around the hem and ends in a flat bow on one side. This wide ribbon finish at the bottom serves a dual purpose of not only adding detail but it also gives the hem extra structure so that the dress retains its shape once on.  At the very top of the bodice there is a wide nude colored added panel that covered with a deep blue cord lace. This adds the prettiest most romantic detail. It’s a lovely little dress. Overall great condition but it does have some small issues to review below.

The dress is fully lined in a copper coloured silky rayon and it closes with a back zipper. The lace hand applied. There is some separation to the lace throughout. It could be worm as is or the lace removed or replaced if you wished. There is also fraying at the very edges of the skirt here and there. Please see the photos after the label shot.

Bust: 17" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Length: 38" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# D647

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 am very excited to bring you our latest mini capsule collection. This is one of nine dresses from a single owner collection. Her collection was lovingly sourced over decades and she has decided that it is time let them back out into the world for others to enjoy. For this capsule we have moved forward to the 1940s and 1950s. Really good examples from this era are becoming increasingly hard to find and these are all gorgeous little examples of that time period. This is just a tiny sampling of her overall collection and I hope to have more of these capsules for you in the future.

Fred Perlberg is an interesting designer. He started his label in 1920 at the grand old age of 19 and continued as the designer until 1968 when he retired. The Perlberg company dresses were well made and done in small production runs so that they could focus on good quality pieces. This is an amazing and early example.

I love this dress. It is strapless and has such incredible volume and movement once it is on the body. The bust is inset with an off white organza that is intricately pleated and is set shelf bust style and on a curve to emphasize the breasts. The contrasting colour of that detail to the rest of the dress also brings added attention to the bust which was the intention. The bodice is fitted and then the waist nips in. Below that the skirt flares out to be tremendously full. I have added a light crinoline underneath to show you how full it is but even without it you get the sense of fullness because of the way it is shaped and seamed. The fabric is extremely lightweight and it is very unique. The base is a light blue toned grey coloured cotton that has been completely hand-painted with a silver floral design. It is hard to convey in words the unusual texture that this gives the fabric and when you feel it for yourself you will agree that it is astonishingly good. I love this dress. Excellent condition. 

The bodice is lined in a cream silky rayon and the skirt is unlined. It closes with a back metal zipper and the bust is lightly boned. It appears to have been worn very little

Bust: 17.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 9.5" from top of bodice to waist
Skirt: 29" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# D648

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 am very excited to bring you our latest mini capsule collection. This is one of nine dresses from a single owner collection. Her collection was lovingly sourced over decades and she has decided that it is time let them back out into the world for others to enjoy. For this capsule we have moved forward to the 1940s and 1950s. Really good examples from this era are becoming increasingly hard to find and these are all gorgeous little examples of that time period. This is just a tiny sampling of her overall collection and I hope to have more of these capsules for you in the future.

This dress is beautiful. It as made in France and is made to a demi-couture level with hand finished inner seams. The lace that covers the dress is a beautiful French made lace and then under that is a nude silk inner layer. This keeps you fully covered but from a distance it has that nude illusion feel that you are perhaps not wearing under anything underneath. It is cut square across the top with a double strap that curves over the very top of the shoulders. The back scoops down just a touch. It is cut to skim and fall easy over the bodice. The waist is detailed with a wide black ribbon that ends in a flat bow at the front. The skirt skims over the hips and widens out slightly as it in nears the hem. The cut is simple and then it is the lace that gives it all the visual interest. It is a net lace that is covered in intricate medallions running over the entire dress. Each has a ruffle finish in a silk chiffon that stands up and away from the fabric for a 3D effect. As it gets near the hem the pattern in the lace and that extra applique becomes more dense. I love the play on transparency that this gives the dress. The same ruffle finish sits at the neckline and very bottom of the hem. This is an extremely well made dress and it is beautiful. Excellent condition.

Bust: 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 21" flat across from side seam to side seam
Bodice: 15" from top of bodice to waist
Skirt: 25" from waist to hem

Modern Sizing Equivalent: SML - MED

Item# D649

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 by Arnold Scassi and I love the choice of sequin and net that he used for this one. Scaasi worked under Charles James at the start of his career and many of his dressed reflect this early influence. His boutique line was launched in 1984 and was high end ready-to-wear and very expensive. Pieces from it often have a demi-couture level finish and really are an extension of his couture line. This one is especially fabulous and just is one of those pieces that feel joyful to look at.

This gorgeous little dress is constructed from multiple layers of feather light black tulle net that has hundreds of sequins sewn onto the very top layer. The sequins absolutely bring the dress to life. They are a mix of red, green, blue and gold and cover every square inch. The light bounces beautifully off them as you move. The top netted layer sits over multiple inner layers which is what gives the dress the volume that you see. The dress is strapless and the bodice is kept simple so the sequins take center stage. It is gathers down one side and the seam at the bottom is set on a sharp angle that dips down very low on one side. The skirt explodes out from that seam and that angled cut of the bodice is followed by the angle of the hem as is cascades towards the floor lower on one side. There are yards and yards of fabric in the skirt. Under that very top sequin embellished layer is another layer of tulle, then two layers of a stiffened netting and an inner black silk layer beside your skin. A flower made of the same black netting and sequins, with a black bow on top, sits on the one hip for the final perfect touch. It is fabulous and just a joy to see and wear. Excellent condition with a note below. 

The skirt is fully lined in layers as described above. The bodice is lined in a black silk with interior boning. The dress closes with a side zipper. The occasional missing sequin here and there but no large bare spots. There is a touch of patina on the sequins here and there.

Bust: 17" flat across from side seam to side seam
Waist: to 13" flat across from side seam to side seam
Inner hips: to 22" flat across from side seam to side seam
Bodice: 12" from top of bodice to waist
Skirt: 27" from waist to shortest part of the hem, approx 40" to the longest

Modern Sizing Equivalent: SML-MED

Item# DD4304

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 in a red colour walked the runway for the Spring 1987 show and its red twin was also used in the ad campaign that year. I am very happy to have those shots for you because it really shows how great this is once on the body. It is a gorgeous and very pretty example of the work that Mr Valentino was doing during the 1980s. Finding pieces from this time period in such immaculate condition is a rarity and I am very pleased to have this beautiful dress in the shop.

It is easy to see why this was chosen for the ad campaign that year. It is just so fabulous and so flattering. The dress is made from a bight pink silk chiffon that makes it as light as a feather. There is this fabulous black dot that covers the entire dress and adds to its charming feel. It is strapless and the upper bodice has a soft rounded shape to it. The silk is gathered over the bust in tiny intricate soft folds that run down to the waist and then continue past that to be more fitted and hug the top of the hips. Just under the bust there is a little ruffle of the chiffon with wired edges so that it curls and twists for a pretty added detailing. This same technique is at the bottom edge as well and I love this little added feminine touch. That stunning colour combined with the soft gathers creates the most gorgeous effect. The skirt falls from that bottom edge of that and it has a ton of volume to it that shows best when you move. It widens out quite a bit by the hem and it is made out of a three layers of silk. The lightness of these layers keeps it from looking bulky. The innermost layer is a silk organza in a pinky red tone. This is topped with a solid pink silk chiffon and the the top layer is the dotted silk chiffon. When this is on and you are walking the effect that this creates is absolutely gorgeous. It somehow manages to feel sexy, romantic and feminine all at once. It is a tremendously beautiful little dress. Excellent condition

There is a built in corset made of lingerie netting with seaming for added support and then the skirt is made of three layers of silk as described above. The inner corset hooks to close down one size with a tightly spaced series of lingerie hooks. There is light boning in the corset. The dress zips to close over that at the side. I see a tiny repair on the inside seam of the neckline and the fabric has soften a touch at the edge of the back. Tagged a vintage Valentino 12.

Bust: to 17-18" flat across from side seam to side seam, seam under the bodice is 15.5"
Waist: to 15" flat across from side seam to side seam
Seam at top of hips: to 20" flat across from side seam to side seam
Bodice: 5" from top of bodice to seam under the bodice, 20" from top of the bodice to the seam above the hips
Skirt: 17" from waist to hem at its longest points

Modern Sizing Equivalent: MED-LRG

Item# DD4302

Reference Photos: (1) Spring 1987 Valentino Runway. Models: Sonia Cole-Berry & Marpessa Hennink.  /  (2) Spring 1987 Valentino. Photo by Oliviero Toscani.

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

Azzedine Alaia pieces are always a delight to find. His knits were all self developed and are among the best out there. He started his career as a dressmakers assistant  and copied couture gown for wealthy Tunisian clients. In 1957 he moved to Paris and worked for Christian Dior for a grand total of five days. He then moved to Guy Laroche and quietly started to get private commissions on the side. By 1960 he was doing mainly private work and within a few years established a small salon on the Left Bank where he continued designing privately. He stayed at that salon until 1984. During this time period he also did private freelance work for other designers including Claude Montana, Thierry Mugler and even Yves Saint Laurent. It was not until 1981 that he launched his first official collection and by 1983 he had a boutique in Beverley Hills. The French Ministry of Culture honored him with the Designer of the Year award in 1985. In 1993 he decided that the established fashion show schedule was not for him and he eschewed producing a new collection every season. Instead he showed when his collections were ready and continued to do so until his death in 2017. 

This is one of two pieces I have from the Spring 1992 collection today. Both must have been had washed at some point as they each have a slight patina to the knit. They are otherwise in fabulous condition and at a great price.

The dresses from 1992 were as well known for their prices as they were for their tight body conscious fit. Elle reported that year that his collection was 'extraordinarily pricey with cardigans run around $1,400 and dresses between $2,500 and $3,500'. In a 10 page spread that season, Azzedine speaks of his 'delights in the space-age fabric he used for his Spring 1992 collection (he calls the NASA-developed material "Relax" for its purported ability to act as a screen against microwave emissions)'. The shoulder treatment you see on this dress was used throughout the show on several of the dresses. The knit he used hugs and shapes the body because of the structure built into it. The neckline sits low across the bust and wraps around to the back. The shoulder straps curve over the outside of the shoulder and then a second strap curves around the top of the shoulders. The upper edge of the neck is finished with his signature scalloped edging and this same finish is used at the hem. This little detail gives it a pretty and feminine touch. In between it follows your curves. It is sexy as hell. Great condition with a note below

Unlined and closes with a hidden set zipper up the back. Tagged a vintage Alaia S. The fabric does has some stretch and the measurements below show the comfortable range laying flat. As mentioned the fabric does have a light bit of a slight faded patina and was probably washed by hand at some point in its history.

Bust: 13-18" flat across from side seam to side seam
Waist: 11-14" flat across from side seam to side seam
Hips: 16-19" flat across from side seam to side seam
Length: 30" from shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD4290

Reference Photos: (1) Spring 1992 Azzedine Alaia Runway, Look 58. Model Eva Herzigová.  /  (2) Claudia Schiffer in Alaia, 1992.

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

Azzedine Alaia pieces are always a delight to find. His knits were all self developed and are among the best out there. He started his career as a dressmakers assistant  and copied couture gown for wealthy Tunisian clients. In 1957 he moved to Paris and worked for Christian Dior for a grand total of five days. He then moved to Guy Laroche and quietly started to get private commissions on the side. By 1960 he was doing mainly private work and within a few years established a small salon on the Left Bank where he continued designing privately. He stayed at that salon until 1984. During this time period he also did private freelance work for other designers including Claude Montana, Thierry Mugler and even Yves Saint Laurent. It was not until 1981 that he launched his first official collection and by 1983 he had a boutique in Beverley Hills. The French Ministry of Culture honored him with the Designer of the Year award in 1985. In 1993 he decided that the established fashion show schedule was not for him and he eschewed producing a new collection every season. Instead he showed when his collections were ready and continued to do so until his death in 2017. 

This is one of two pieces I have from the Spring 1992 collection today. Both must have been had washed at some point as they each have a slight patina to the knit. They are otherwise in fabulous condition and at a great price.

The dresses from 1992 were as well known for their prices as they were for their tight body conscious fit. Elle reported that year that his collection was 'extraordinarily pricey with cardigans run around $1,400 and dresses between $2,500 and $3,500'. In a 10 page spread that season, Azzedine speaks of his 'delights in the space-age fabric he used for his Spring 1992 collection (he calls the NASA-developed material "Relax" for its purported ability to act as a screen against microwave emissions)'. The neckline treatment you see on this dress was used throughout the show on several of the dresses. The knit he used hugs and shapes the body because of the structure built into it. The upper edge of the neck is finished with his signature scalloped edging and this same finish is used at the hem. That edging extends out from the neckline and curves around the neck. At the back it scoops down in a curve. This little detail gives it a pretty and feminine touch. In between it hugs and follows your curves. It is sexy as hell. Great condition with a note below

Unlined and closes with a hidden set zipper up the back. Tagged a vintage Alaia XS. The fabric does has some stretch and the measurements below show the comfortable range laying flat. As mentioned the fabric does have a light bit of a slight faded patina and was probably washed by hand at some point in its history.

Bust: 11-16" flat across from side seam to side seam
Waist: 9-14" flat across from side seam to side seam
Hips: 14-19" flat across from side seam to side seam
Length: 28" from top of neck to hem

Modern Sizing Equivalent: XXS-SML

Item# DD4292

Reference Photos: (1-3) Spring 1992 Alaia Runway, Look 84. Model Yasmeen Ghauri.  /  (4) Spring 1992 Alaia photographed by Gilles Bensimon.

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 walked the runway for the Fall 1987 show and I love having a runway shot of it for you so that you can see how fabulous it is on the body. We even found one where you can see the model walking back down the runway so you can see how gorgeous it is from the back as well. This has always been one of my favourite dresses ever since I first saw the catwalk photo and I am so pleased to have one in the shop.

This is a fantastic dress. It is made from a stunning metallic lace that has a blue-purple colour running through it. Over that are thousands of glossy black sequins that are placed onto the lace to follow the pattern underneath. I love how these sequins catch the light from every angle and add a bit of glitz to the dress. The lace is open cut work all through and to make it not completely see-through Yves lined it with a deep blue silk chiffon. That said when this is on it definitely has a touch of transparency to it. Personally I love that about the dress. The dress is cut to sit off the shoulder for a bare expanse of skin. The neckline is finished with a black silk organza ruffle and this choice of fabric gives a just a touch of stiffness so the ruffle holds its shape around you instead of just flopping. The sleeves fall to just passed the elbow and each is finished with a ruffled cuff. The dress it is cut skim over you. It runs over the bust and past the waist with no seaming there to break the line. At the top of the hip there is a seam that has another flounce of ruffles. The skirt falls under that and widens out quite a bit. The bottom hem is also finished with a ruffle edge and I love that the back of the skirt is set to hang longer than the front. This gives you a beautiful curve from the side and also allows the skirt to have attach more volume than it would otherwise. It is just a fabulously gorgeous dress and really showcases Yves' innovative eye and design genius. It appears to have been worn very little if at all. Excellent condition

Fully lined in a dark blue silk chiffon. It closes at the side with a zipper. Tagged a YSL 42. It looks to have been worn very little if at all.

Sleeves: approx 18" from the drop. 12" around the upper arm
Bust: to 18" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Seam across the top of the hips: 19.5" flat across from side seam to side seam and open under that
Length: 30" from top of center neckline to front hem and 36" to back hem including top and bottom ruffle

Modern Sizing Equivalent: SML-MED

Item# DD4271

Reference Photo: Fall 1987 Yves Saint Laurent 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.

Loris Azzaro founded his label in 1967 and quickly was dressing women like Raquel Welch, Brigette Bardot, Tina Turner, Liza Minnelli, Sophia Loren, Marisa Berenson and many more. His label gained international recognition and was known for his bright, clear colour choices and daring cuts. He once said in an interview; 'When a woman has found her style, she should stick to it. We forget too often that it is the dress that must serve the woman and not the opposite.' He is one of my favourite designers to find and with all of the emphasis on recreating these looks from the eighties by many modern designers you can't beat these original vintage version on terms of cut, style and quality. 

I love how this dress combines the sexiness of the fitted strapless dress with the drama of that unusual skirt. The dress is made out of a deep blue printed with a white dot that covers the entire dress. The silk keeps it light in weight but at the same time is the perfect choice to help to hold the shape and give the dress structure. The top portion of the dress has been gathered in soft folds from the bust to the top of the hips. The folds are set to help to highlight the hourglass shape of the dress. They have the illusion of being wrapped around you and they are set in gathers all the way down to really emphasize the shape of the body underneath. The neckline is strapless and the top of it curves over the bust to make a sweetheart neckline. Inside the dress there is light boning at the sides for extra support. The waist nips in beneath this and then the skirt falls under that with just a touch of flare at the hem. The front of the skirt is gathered and stitched to suggest a flower. The sits just off side and adds volume and a visual interest that is fantastic. It is even better on an actual body. Excellent condition.

Fully lined in a black silk and closes at the back with a painted metal and nylon zipper. The bodice is boned. It looks to have been worn very little if at all.

Bust: to 17.5" flat across from side seam to side seam
Waist: to 14.5" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 34" from top peak of bodice to hem

Modern Sizing Equivalent: SML-MED

Item# DD4270

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 11 shown on the runway for the Fall 2019 Prada collection. The cotton mix fabric allows it to hold a fuller shape and that is how I shot it rather then the sleeker look it was worn with on the runway. The review for the Prada show was glowing. It stated in part that 'we had a Prada collection that continued to posit romance in all its aesthetic gestures (lace, flowers, hearts, fairy-tale capes, and glittery red shoes) as a way to both soften and deepen the tropes of utilitarianism...And Prada-philes will love this collection because it was, at its core, very, very Prada...Not because the dresses nodded to a demented Kim Novak or an inscrutable Eva Marie Saint...It was very Prada because it spoke so clearly to the twin impulses that both define and daunt the Prada woman: I know what really matters and I also really love fashion. Such a beautiful, bad romance."
I love that to describe the product aesthetic. It holds so very true. This was one of the prettiest dresses from the entire collection.

The dress is made out of a fabric that feels like a cotton mix and has a crispness to it that I love. This gives it a slight a bit of stiffness to it and it is this slight structure that allows it to hold the shape and fullness that Miuccia was after in these looks. The sleeves are set to come out from the waist and then narrow down as they reach their ends. The shoulders are rounded as a result and there is no line to break the arm from the bodice. This gives the dress a very 1950s feel. The neckline is a shallow scoop and the dress skims over the bodice.  The waist is nipped in. I love the fullness of the skirt. The fabric lets it have that lovely fullness and you could exaggerate it even more if you added a crinoline underneath. At the waist is that elaborate 3-D cascade of white flowers and trailing leaves. This is attached to one side of the waist and falls down over the skirt. It creates a beautiful flower on flower look since the fabric itself has a huge oversized washed floral pattern covering the entire surface of the dress. It is gorgeous. And it has pockets. It looks to have been worn very little if at all. Excellent condition 

Unlined with ribbon finished edges and closes with a back set zipper. No size tag present. Pockets along the hip and the flower detail at the front is attached. It appears to have been worn very little if at all. 

Shoulders: no defined seam
Bust: 17" flat across from side seam to side seam where the arms come out from just above the waist
Waist: 12-12.5" flat across from side seam to side seam
Hips: open
Bodice: 16" from top of bodice to waist
Skirt: 30.5" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD4242

Reference Photo/Video: Fall 2019 Prada Runway, 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.

Anthony Vaccarello is currently the Artistic Director of Yves Saint Laurent and his rise to fame was meteoric. He started at Fendi under Karl Lagerfeld where he stayed for two years and then in 2009 he moved to Paris and launched his own self-named line with five looks. In 2011 his label won the ANDAM prize. One year later his muse, model Anja Rubik, wore a look to the 2012 Met gala and he rose to international fame as she went viral worldwide in it. By 2014 his collections sold out the second they dropped and were wait listed worldwide.'Girls are their most beautiful during their holidays,' Anthony Vaccarello explained backstage. 'I wanted to try to bring swim to the city.' His clever cuts for this show felt fresh and new and they were very sexy. Dresses like this one were cut micro mini short and were as bare as you could get. The twin of this one walked the runway for Look 14 on Cindy Bruna and its spectacular. This one is new with tags and has never been worn.

The dress is strapless with a built-in inner added corset for support. The dress is shaped through a series of vertical panels piece together with long seams running from the top of the strapless bust to the bottom of the mini skirt. The half seam at the front waist drops down on an angle to create length through the body and add tot eh sarong illusion that the skirt has. One side of the skirt is cut exceptionally short and then the other side drops down at the front to create the illusion of a wrapped around you piece. This is what gives the dress a sarong feel and brings in that swimsuit/vacation feel that he mentioned as being part of his influence. Fused onto the front of the skirt are huge cabochon feeling gold domed metal buttons. These buttons were applied to many of the pieces throughout the collection and gave everything a slight play on military dressing. The dress is short, fitted and meant to show off all your curves. It is sexy AF. Excellent condition

Fully lined in a black rayon and has an inner additional lightly phone bodice to help shape. It closes with a hidden set back zipper. The colour is a black that in some light has a blue feel to it. All the original tags are attached and has never been worn. Tagged a modern 38

Bust: to 17" flat across from side seam to side seam
Waist: to 13.5" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 24" to hem and 30" to the longest point at the front

Modern Sizing Equivalent: SML-MED

Item# DD4233

Reference Photos/Video: Spring 2014 Anthony Vaccarello, Look 14. Model: Cindy Bruna.

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

Vogue praised the intricate and meticulous details put into the pieces of this collection. The collection was inspired by a mix of Marie Antoinette, Tim Burton films, Sleepy Hollow in particular, and he even had Burton design the lighting for the show. There was a bit of schoolgirl fetish in the mix and the Supercalifragilistic-Expialidocious title of the show was of course taken from Mary Poppins. I have included a snapshot from one of the Mcqueen books that talks more of the various inspirations that were behind this spectacular collection. On the clothes themselves Vogue noted the 'Milkmaid necklines—far from innocent-were pushed up by leather bodices that curved down into the tightest pencil skirts, and finished off with thigh-high leather boots. McQueen moved from that Helmut Newton-esque fantasy to another—bad schoolgirls, who mixed lingerie and silver lamé ties and skirts in with their proper blazers and duffels. For a splendid finale, he brought out romantic flouncy skirts....' Lee did multiple variations of this look throughout the collection and this neckline in particular was a prominent detail. This dress was a piece made for production for the shops and seems to be a combination of the final look of the show and an earlier ivory version of the dress. I have included both those reference looks here. It is extremely beautiful in person.

'I wanted it to be romantic, beautiful,' McQueen said of this collection and the pieces, the dresses especially, were just that. The dress has a beautifully romantic and slightly subversive scooped neckline. There is an inset of black silk chiffon that is gathered into a raw edged ruffle all the way around the neck line. It dips low in the front and also at the back. A silk satin band acts like a halter corset and is set under the breasts for support. Little capped silk chiffon sleeves are set on each side and their edges have also been left raw and unfinished. Under the bust there are panels of the same silk as the halter detail that wrap around from the back zipper. These curve down and past the waist at the front to add shape through the waist. The dress is made from long vertical seams that run from under the breast to the hem. The dress skims over the hips and then flares out dramatically at the hem. Long triangle shaped panels have been set all around the skirt between the vertical panels to create that wonderful flared fullness. Under that is a second inner layer that's also completely vertically seamed. The inner layer is made from a soft black silk but when it reaches the hem it also has insets of the black lace. These act as support to the top layer and help keep the shape and fullness of the skirt. Under all of that is another layer of silk chiffon with a raw edge hem. The lace has been treated so that it is slightly stiffened and this helps to retain the volume of the dress. Inside the bodice there is a banded corset shaped almost like a bandeau for support and some extra shape. At the back zipper on either side are more of the laced panels to give the illusion that you are completely laced and corseted into the dress. The dress is spectacular and it is immaculate. This is a wonderful example of his work during this time. period. And it's even better on the body. It appears to have been worn very little if at all. Excellent condition

Fully lined in layers of silk as described above. The inner corset closes with lingerie hook and eye and then dress zips to close over that. Tagged a McQueen 42. The dress appears to have been worn very little if at all. I have included the measurements for the outer dress as well as the inner corset. You could extend/add to the inner corset to get more room if needed

Inner corset: 16.5" flat across from side seam to side seam, outer bust to 18" flat across from side seam to side seam
Inner waist: 14" flat across from side seam to side seam, outer bust to 18" flat across from side seam to side seam 
Hips: to 18.5" flat across from side seam to side seam
Bodice: 15" from top of shoulder to inner waist
Total length: 40" from top of the shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4234

Reference Photos/Video: (1-6) Fall 2002 Alexander McQueen Runway.  /  (7) From the book "Alexander McQueen" Edited by Claire Wilcox.  /  (8) Alexander McQueen dress on display at the "Lee Alexander McQueen & Ann Ray: Rendez-vouz" exhibit at the Crocker Museum in Sacramento, 2023. (photo courtesy @pmb1976)

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 dress that was just worn by AnnaSophia Robb and this amazing dress is from the Spring 2001 Dior Boutique Collection and is a fantastic example of the work John Galliano was doing during this time period. There were two versions of this dress made. One that had a simple straight hem and the other that had the buckled garter strap that this one has. I personally prefer the one with the strap. It just elevates the entire dress to a different level and it has a bit of a subversive sexiness that you see in Galliano's work. I have included some shots from the 2001 show that show the use of the buckle in several pieces. This dress was a production piece and not shown in the show but I think it should have been. It is a fantastic dress and I'm very pleased to have it in the shop.

The dress is strapless and cut to follow and skim over the body. Shaped cups sit low on each breast and have underwire built in underneath them for a lift. It skims from there over the waist and hips. The shape is created by long panels that are sewn vertically together. Where the panels attach they are top stitched with a zigzag stitch for added detailing. Down the front two seams there are silver metal loops and pins. These are meant to be detailing but you could actually use them to lace the dress in at the waist if you wished by adding some cording or laces. The top of the dress is trimmed with a strip of blue stamped leather to appear like a snake skin. On one side just above the cup it buckles into place. A layer of deep blue tulle peaks out from above the edge. There is a second buckled leather piece that sits at the base of a high slit down one side of the leg. This is meant to strap around your upper thigh like an exposed garter beneath the slit above. This is what gives this particular dress is extreme sexiness. It is a fantastic dress and is fantastic on. Excellent condition with one small note below.

There is an inner cupped and shaped bodice made of lingerie netting that is lightly boned. There is rubber around the inner edges at the top and bottom of the corset to help hold it into place. The rest of the dress is lined in a blue silk. The corset closes with its own zipper inside and then the dress closes over that with hidden side side zipper. The garter buckles around the leg. Each side of the garter extends out from each side of the hem so you don't have to worry about the size of it around your leg as it is not a closed circle. I see a little bit of scuffing to the fabric in areas. Please see the two photos after the label shot.

Bust: to 16" flat across from side seam to side seam with an A-B cup
Inner waist: 14-15.5" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Bodice: 9" from top of bodice to inner waist
Length: 35.5" from top of bodice to hem

Modern Sizing Equivalent: XS-MED

Item# DD4235

Reference Photos: (1-2) Spring 2001 Christian Dior Runway, Looks 28 & 29.  /  (3-5) AnnaSophia Robb, in this dress, for the Women in Film Event, 2023.

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 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.

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.

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.

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.