This is one of those incredible mystery pieces that you can only find with vintage. It is very well made and has all the hallmarks of a high end piece but whatever label it once had is now gone. It is made from both a beautiful black silk organza for the skirt and side peplum on the dress and a softer silk for the body of the dress. Both fabric choice are almost weightless. The softer silk used for the dress makes it feel comfortable when worn and the organza gives the volume you see.  The inner dress is fitted though the bodice and has one shoulder. A tiny strap curves over the shoulder and the arches across the back leaving a bare expanse of skin. The skirt is fitted and just above the knee. On one side there is a pleated peplum that I put under the over-skirt for added volume and shape but I think you could easily wear the skirt the other way for an interesting effect as well  and a The skirt is  cut on a sharp angle with extra fabric on one side for volume and then it falls to the floor on a point on the other. There is a detachable bow that you can snap at the waist. The edges of the skirt and the bow are trimmed in a black snakeskin. When worn together it looks like one single piece but because it is two you could potentially break it up and wear the pieces separately. Excellent condition wit one small note nelow

The skirt is unlined and the dress is lined a black silk. The dress closes with a hand set, side metal zipper. The skirt closes with a combination of hook & eye and snaps. The bow snaps into place. There is a bit of wear/dryness to the snakeskin along the bottom edge of the detachable bow. Hand finished to demi-couture standards.

Dress
Bust: 14-15" flat across from side seam to side seam
Waist: 11.5" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Bodice:15.5" from top of the shoulder to waist
Skirt: 21.5" from waist to hem

Skirt:
Waist: 11.75" flat across the back from side to side
Hips: open
Length: 4" from waist to hem

Modern Sizing Equivalent: XXS-XS

Item# E673

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

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

Every square inch of this gorgeous little dress is heavily sequinned and beaded. The lines are simple and once on it is extremely sexy and flattering. Onto the black silk base of the dress are hundreds of chevron bands made of a combination of glossy black sequins and tube beads. These are laid out in a sharp chevron pattern that comes together down the center which gives the illusion of an even slimmer silhouette. On the skirt the flare pout to match the incredible sweep of the lower skirt. The exterior of the dress is done in that amazing solid black with just the pattern of the sequins and beads and how they catch and glimmer in the light to catch the eye. As a result the dress is fairly heavy off the body because of that extensive bead-work, and yet once on the body it lies and drapes in a way that it is balanced and not at all unwieldy. The bodice is cut to skim over the chest with a scooped neckline. The sleeves are capped and the waist nips in. Under that the skirt flares out to an extreme at the hem and t it is cut and shaped so that the bottom is a true circle it has so much volume. The skirt is incredible with its built in under-layers on a vivid pink and red. These are set in extravagant, pleated ruffles. If you stand perfectly still you cant see the color underneath but the second you move or sit that vibrant color explodes out. The under-skirts also helps to hold the shape and volume that the lower skirt is meant to have. The effect of this is far more dramatic and fabulous on a real body and it really shows off the legs. If you even remotely love it in the photos you will dance when you see it in person as it is so, so, so much better in real life. Extremely well made to demi-couture standards. Excellent condition.

Fully lined in a black silk. It closes with a hand set back zipper. Hand finished throughout. It feels heavy off the body as it is fully beaded from top to bottom with glass beads but feels balanced when on and comfortable. Attached underskirts in red and pink. Main line label

Shoulders: 15
Bust: 16-17" flat across from side seam to side seam
Waist: 12-13.5" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Length: 38" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD3361

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 would have been designed by Belgian-born Jules-Francois Crahay, who headed the Lanvin ateliers from 1964-1984. He has been "noted as one of fashion’s great colorists with his colorful patterns making his 1970s Lanvin designs hugel​y ​desirable and influential." His realm is one of my favorites for the house and the period through the late sixties and into the 70s in particular. He was a genius at print and color and he pushed the envelope in terms of using the "new" fabrics available during this time period.

This vintage Lanvin dress has a gorgeous bright color and print combination on a black base. The wool jersey fabric it is made of is light in weight and held color exceptionally well. The colors are still crisp, bright and true. I love when I find great examples of this label from this time period in the label's history as it is a particular favorite for me. The dress is sleeveless with a V scooped neckline on both the front and back. The back dips lower then the front does. It buttons down the back and I think its amazing that each button is perfectly done so that it has one of the spots exactly laid out over it, so that the pattern at the back is not interrupted. The waist nips in and the skirt falls to just above the ankle depending on how tall you are, and it slightly widens as it nears the hem. I love how those stripes contrast against the dot print and are used to define the cut of the dress. It also has a matching scarf that is hand finished with a yarn trim. Overall great condition with notes below to review

Fully lined and closes with hand covered buttons down the back to the waist and a low back painted metal zipper below that. Has its original scarf. Note that there are some minor nicks out of the fabric around the lower portion of the skirt. I have photoed the two worst areas - please review the two shots after the label photo. There are a scattering of teeny ones here and there around the lower skirt. All are stable and it stood up to cleaning just fine. This was taken into consideration when pricing.

Bust: 15.5-16" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 13.5" from top of shoulder to top seam at the waist and the band at the waist is 2.25" wide
Skirt: 36.25" from bottom waist band to hem
Scarf: 44 x 14.5

Modern Sizing Equivalent: XS-SML

Item# DD3358

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 and jacket set that would be from when Marc Bohan was head of the Dior atelier. It is a beautiful and early example of the work being produced by Christian Dior in this time period. This is the Christian Dior - New York label and is considered to be demi-couture from this time period of Dior's history. These where made for the American market based on the runway designs and with many of the same high standard finishes that Haute Couture pieces incorporated.

This set is just spectacular. It has a simple, refined cut that is made glamorous by the wonderful fabric choice. The fabric is a beautiful wool silk that has a touch of weight to it so that the lines are perfectly held. It has a cream base with squares running over its surface. Each is a peach outline that then has a gold and peach medallion in its centers. In person the peach is brighter and better. The metallic gold lame thread is slight raised up from the fabric so it gives a touch of dimension besides the shine. These cover every square inch of the fabric. It is made of two pieces. The inner dress is a simple sheath that is cut so that is skims over the body and slightly flares out as it reaches the hem. It is sleeveless and the neckline is a simple scoop. It comes with a gold metal and rhinestone chain belt that slips through the loops that run around the low waist and then the belt hooks. The belt is real metal and has crystal detailing set along every 4 inches. I love how it ends in a gold tassel that dangels down under where it hooks. Over this is a little matching jacket that is sheer perfection in cut. It has a neat little collar and box cut. There are no closures and it is the perfect finish once it is popped over the dress. What I love about it is that when the dress is worn on its own it has that touch of a mod feel that the sixties were all about but once the jacket is on it has a very refined feel. Excellent condition with a small note below

Both pieces are lined in a heavy cream silk crepe with an additional silk chiffon interlining through the dress. The dress closes with a had set, hidden zipper at the back. The jacket slips on with no front closures. The belt hooks to close. There is a slight grubbiness to the lining of the inside back collar  of the jacket and one very minor nick out of the fabric on the jacket. Please see the photo after the label shot. . Otherwise the set appears to have been worn very little if at all. Hand finished and very well made to demi-couture standards.

Jacket
Sleeves: 22"
Shoulders: 15"
Bust: 19" flat across from side seam to side seam
Waist: to 18" flat across from side seam to side seam
Length: 19" from neck to hem

Dress
Bust: 17.5" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 38" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD3357

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 dramatic little dress by Vicky Tiel is fabulous. It is made from a fantastic metallic gold lace type fabric that has a black base over which the gold has been directly applied. This allows the black to peek through and the gold really highlights the pattern in the fabric. It gives it extra depth and visual interest. This then sits over an inner fitted base that is structured and molded to the body. It is shaped like a corset inside to give you shape with both boning and inner structure. The front has a plunging version of a sweetheart neckline and I love the dramatic curve of it. The bodice is molded tot he torso and covered with gathers that emphasize your curves. Amazing little cap sleeves sit off the shoulders and wrap around the upper arms. The waist nips in and it is fitted around the upper hips. Under that the skirt explodes out in a dramatic pouf of fabric that is fall all the way around. the shape is held by layers of stiffened organza and tulle under the gold. Countless modern pieces right now are based on dresses just like this and I am happy to have this amazing original in the shop. Excellent condition.

Fully lined in a black silk and closes with a back zipper. Very well constructed with the entire inner bodice shaped, boned and fitted. It appears to have never been worn or worn very little. Handwritten tag, marked a vintage 42

Bust: to 18" flat across from side seam to side seam
Natural waist: 13" flat across from side seam to side seam
Seam at bottom of bodice: 16" flat across from side seam to side seam
Hips: open
Bodice: 19" from top of shoulder to  bottom seam, 16" from top of bodice to bottom seam
Skirt: 16.5" from bottom seam of bodice to hem

Modern Sizing Equivalent: SML-MED

Item# DD3356

Reference Photo: Vicky Tiel in Town & Country Magazine, December 1984.

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 and very rare set by Halston from his main line. The top part of the set is very similar in feel to the one worn in the famous 1978 image of his 'Halstonettes" taken in the Halston offices. In that photo, the same metallic lurex is used in a different color way and the gathered bodice tops full pants. Here the pieces are more distinctively separate as a bandeau top and skirt.

This set is magnificent and such a rare fine. Both piece are made from the finest, lightest metallic lurex lame and the color is a deep true purple. The top is gathered on two pints on either side and you can wear these at the side as I have photoed it, or wear the gathers down the center front and back. It is lined in a nude stretch jersey. It simply zips into place and it's done. There is some flexibility on how much midriff you wish to show between the top and the skirt. You can push it up and gather it a touch more to really show off a band of bare skin underneath, or pull the fabric down to almost meet the waist of the skirt as I have photoed it. The skirt underneath is a flirty little thing and it is cut with tremendous volume that only shows itself when you move. The lightness of the fabric allows it to lie fairly smooth when you are standing still, but in reality it is pretty much a full circle skirt. It is unlined and instead is made up of three layers of the feather-light lurex. This gives it just enough opaqueness to not be scandalous but in a strong light you would still see shape underneath. It's amazing and a rare, museum worth piece by on of the greatest of American designer. Excellent condition.

The top is lined in a nude stretch lingerie jersey. It has an inner waist stay that hooks to close. It zips at the back and has boning built in along the side there and at the front middle. The skirt has no lining and is made of three layers of the fabric as noted above. It hooks to close at the waist and snaps under that.

Bandeau
Bust: 17.5" flat across the top from side seam to side seam
Inner waist stay: 13.5" flat across from side seam to side seam
Height: 9" at the boning. The fabric on either side og the boning can be worn more or less gathered for more or less coverage

Skirt
Waist: 13.75" flat across from side seam to side seam
Hips: open
Length: 29" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3354

Reference Photos: (1) Alva Chinn, Halston and Chris Royer at Olympic Tower, September 1978. From the Book 'Halston' by Phaidon.  /  (2) Model in Halston, 1978. From the book 'Halston An American Original'.

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

When Jeanne Lanvin died in 1946 her daughter took over the business and ran it herself for a couple of years before hiring Antonio del Castillo in 1950. During his time as head designer for the house, the labels bear the name Lanvin-Castillo. He departed in 1962 which gives us a neat little window of time that he worked within. This set has the boutique label but that label is numbered and the interior is finished to couture standards. I think it was most likely a  custom order placed through the boutique that was made in the couture studios based on the level of finishes.

The set is gorgeous. It is made from a deep gold colored velvet that instantly give is a rich feel. The top is sleeveless and scooped at the front. Vertical seaming give is a fitted feel and it is cut to nip in at the waist. It is meant to be worn tucked in and the long exposed zipper, done on the couture manner to leave no bump under the skirt, is what tells us that it was meant to be worn that way. The neckline is finished with a beautiful hand applied border of gold metal filigree cut out, faux pearls and gold beads. The skirt has that same beading detail and this is done in wide borders that surround the unusual slit pockets that sit towards the center of the front of the skirt. This picks up and balances the neck detailing perfectly and add a touch of high glamour to the piece. The skirt has a deep inverted front pleat running down the center for volume. The two together are gorgeous and typify that Old Hollywood, glamour that this decade was so well know for. Excellent condition with a couple of tiny notes below

Both pieces are fully lined in a matching silk. The top closes down the side with a painted metal zipper and the skirt snaps to close down one side. Perhaps the most minor of marks to the velvet here and there where the beading pressed in to if from being folded in storage but this is to be expected with the age of the pieces. These will soften as its hung properly. It looks like the hooks on the waist may have been moved at some point to make the waist a touch bigger. Where the corners of the arm opening meet there is the teeniest of nick to the velvet on each side. Please review the photo after the label shot. The interior is made to haute couture standards and appears to be all hand done with hand finished curved couture seaming. The label is numbered but it is very faded. 

Top
Bust: 17.5" flat across from side seam to side seam
Waist: 12.75" flat across from side seam to side seam
Length: 19" from shoulder to hem

Skirt
Waist: 13" flat across from side seam to side seam
Hips: open
Length: 28" from waist to hem

Modern Sizing Equivalent: XXS-XS

Item# DD3352

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

George Stavropoulos was known for his evening wear and his signature looks that often involved draping and the use of multiple layers of silk done on a bias cut. He focused on cut and fabric to convey the beauty of each piece. It was said that his gowns "seemed to float on air". He launched his label in 1960 and soon was dressing women like Elizabeth Taylor, Jackie Kennedy, Barbra Streisand and Maria Callas. His dresses were made by hand and to couture standards. By the early 1980s a gown by him started at around $8500 and they went up in cost from there - that starting price point equals to around $26,000US in today's dollars. So when you buy a vintage Stavropoulos gown you are getting incredible value for your money.

The simplicity of this dress when you first look at it hides the incredible craftsmanship used to create it. I love the light and airy feel of the dress that is created by the yards and yards of silk chiffon used in its construction. Working in this type of fabric is already difficult and this would have taken many hours of work to execute the making of this dress by hand. The column of silk that you see has been cut on the bias. Incredibly, there are four full layers of silk used to make up the body of the dress. This gives it enough of an opaqueness to wear and also gives it a lovely movement and makes it very comfortable to wear once on the body. The layers sit over each other perfectly aligned and in a sheath silhouette so it is very easy to wear. The sleeves are made of a single layer of the chiffon. On one shoulder is an attached long panel that gives it a caped effect. This trails all the way down to the hem and adds a touch of drama as you move. It flows behind you as you walk and it creates a very pretty effect with its slight transparency. It is very beautiful. Excellent condition with a couple of minor notes below

The body of the dress has four layers of silk chiffon. It closes with a hand set, zipper at the back. Immaculately constructed. It appears to have been worn very little if at all. The bias cut allows for some range in the measurements as indicated below. There is the slightest bit of a pull on one sleeve. I see the slightest bit of teeny snags to the silk here and there but very very minor and just mentioned for accuracy. Please see the last photo after the label shot.

Shoulders: 14.5
Sleeves: 25"
Bust: to 18" flat across from side seam to side seam
Waist: to 16" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Length: 43" from neck to hem and may come up a little when on due to the bias cut

Modern Sizing Equivalent: XS-MED

Item# DD3346

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 spectacular bold silhouette Balmain dress by Olivier Rousteing. The fabric is great. It's just heavy enough to hold the shape and structure that the dress has but without feeling thick or too structured. The shoulders have Rousteing's signature bold and sharp shape and the sleeves taper to the wrist from there. The fabric on the skirt is draped in towards the center front so that you get the effect that the hips are wrapped in it. The front bodice also is wrapped down and into that center knot giving the illusion of an even smaller waist. The bodice of the dress has a long open keyholes at the front and this is balanced by a high neckline. At the back, the Balmain signature chunky zipper runs down the back. It is spectacular and sexy and a collectible both now and as a future vintage piece. It appears to have never been worn. Excellent condition.

Unlined and closes at the back with the signature chunky brass Balmain zipper. Padding in shoulders. Appears unworn. Tagged a modern Balmain 40. The fabric does have some stretch

Sleeves: 27.5"
Shoulders: to 17" due to the shoulder pads that extend beyond the natural shoulder
Bust: 17-18" flat across from side seam to side seam
Waist: 13.5-15" flat across from side seam to side seam
Hips: 16-18" flat across from side seam to side seam
Bodice: 17" from neck to waist
Skirt: 19" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3347

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

Jacques Heim began his career working at his parents fur business. In 1923 he took that business over and made it into his own vision. Heim began designing a line of made to order, in-house couture pieces that used original fabrics, most notably, those of Sonia Delauney. In 1930 his younf label became an official member of Haute Couture and his self-named label, Jacques Heim, was born. Jacques remained at the helm of his business until his death in 1967. The label was shuttered by 1969.

This dress is a wonderful example of his work in the 1950s. The label has the additional wording of 'sur autorization speciale, Maria Carine Paris' (made by Maria Carine Paris with special authorization). Garments with this label are best explained by this excerpt: 'Maria Carine was owned by Maria Moutet-Chenu. She worked with four couturiers: Heim, Desses, LaRoche, and Lanvin. After the couture showings, each couturier would give her sketches based upon the garments they had just shown. Moutet-Chenu made the toiles which were approved by the designers. Then each garment was cut individually by hand in the Maria Carine workrooms in Paris using the same fabrics that were used for the couture garment. Maria employed hundreds of seamstresses, many of whom worked in their own homes. They sewed each garment individually to exacting standards. This was the highest of early high-end ready-to-wear.'

In other words - this is a fully authorized piece by the couture house. It would have been completely overseen by Heim and was the way the house would have produced demi-couture and ready-to-wear pieces for their clients. Maria and her seamstresses were only utilized to produce garments in this method for a small window of time before more mass market production methods took over that were a lot cheaper. It is a wonderful example of a very small moment in time when the quality was still very high.

I love the classic cut of this dress. It is cut to skim over your curves of the bodice and the sleeves are an extended curve of the fabric of the bust so that there are no seams at the shoulder or arm to break the line. The waist nips in and the skirt is cut slightly slimmer at the front and then very full at the back. I have styled it over a light crinoline to show you the shape. If you wished to get a very full skirted look you could but not without adjusting the inner lining which is cut in a more straight shape. The fabric is wonderful. It is a deep, non-metallic French gold lace that is applied over a fine black silk net. I love that all the edges are left so that the follow the floral pattern in the lace to give them a softer, curving scalloped finish. The sleeves are cut tot he elbow and they, along with the upper shoulders, are left unlined so you see a peek of skin through the lace. It is simplicity mixed with a masterful seaming and cutting and extraordinary fabric. Hand finishes and extra detail throughout. Excellent condition

Fully in a black taffeta and closes with a back painted metal zipper. Pinking shear finishes to the interior seams and hand finished throughout. The added crinoline is not included.

Shoulders: no defined seam
Sleeves: approx 14"
Bust: 17" flat across from side seam to side seam, with a good C cup at least
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 16" from neck to waist
Skirt: 28" from waist to hem

Modern Sizing Equivalent: SML-MED

Excerpt in the description taken verbatim from the Vintage Fashion Guild

Item# DD1207

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 exceptional piece of vintage Chanel and a rare find. This is a very early piece of Karl's work for Chanel. His first collection was in 1983 and  it is amazing to have a verified piece from just a few short years into his long career there. A version of the dress made of the same fabric walked the runway that season and we were able to find that reference photo. The hand written tag on the dress is also marked 1986 and there is a special order tag from Bergdorf's with the exact date and client name. It is a wonderful example of the work that Karl was doing for Chanel during this time period.

The dress is made from a of a metallic gold thread set on a black silk chiffon. The effect that this gives is that it is a gold lace. You only realize that it is made of that fine gold metal thread as you get closer to it. This fabric treatment also gives it a touch of a 3D feel. Under the top part of the dress is a inset bodice made out of black silk chiffon. This leaves the upper shoulders and arms covered in just a single layer of the chiffon and gold so you get a touch of transparency there. The cut of the dress has been kept fairly simple so that the fabric can take center stage. The neckline is set slightly wide and the edges of it follow the lace pattern. The sleeves are long and the bodice is cut to skim over the buts and waist. This  then flares out to the hem of the skirt. The front is cut to a more cocktail length and this curves down into a longer back skirt that is a true maxi length by the time it reaches the longest point of the back hem. This high low cut is tremendously fabulous and it lets the dress have more range. You are able to wear it to both a less formal cocktail affair, yet it will still work for a formal event as well. It has the Chanel boutique label with a hand written label below that with the date and other information. It is beautifully made. Excellent condition

Full lined in a fine black silk chiffon with an inner chiffon bodice suspended by tiny straps and in inner silk skirt. Hand finishes. The inner bodice has its own zipper to close it and then the outer layer closes with a series of buttons and loops down the back.Buttons and loop at each cuff. Cut slightly on the bias so may come up a touch in length when on depending on your frame

Sleeves: approx 23"
Shoulders: no true defined seam
Inner bust: to 18" flat across from side seam to side seam
Inner waist: to 14.5" flat across from side seam to side seam
Inner hips: 19" flat across from side seam to side seam
Length: 49" from top of shoulder to front hem, 60" to back hem

Modern Sizing Equivalent: SML-MED

Item# DD3345

Reference Photo: Ines de la Fressange models for Chanel 1986-1987 Fall-Winter collection. Photo by Pierre Vauthey.

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 exquisite Pierre Balmain Haute Couture dress is a stunning and very rare example of what the house was producing during this time period. It is true Haute Couture and has been entirely made by hand to Haute Couture standards. You can see a striking resemblance to the  Fall 1954 "Ecume" dress combined with elements from the "Clorinde" dress from that same season. There is also an even closer resemblance to that famous photo of the model and dress captured back stage by Mark Shaw that season. You can easily imagine that this dress was derived from the different elements of these, while tweaking the details to be more perfectly reflective of the clients personal style. It is wonderful and a joy to have it come into the shop.

The dress is constructed from a hand made ivory Chantilly French lace that is outlined with a fine silk cording. The cord has been meticulously hand applied to the lace. It follows the outline of, and defines each delicate motif within the lace's pattern. The lace portion of the dress begins just under the high and defined waist and the entire lower portion of the exterior layer of the dress is done in that stunning lace. I love how at the very hem the lace edges have been meticulously hand stitched into a silk organza so that the hem is perfectly straight. The bodice is kept with a more simple silk jersey fabric to contrast the high level of workmanship that the lace has. It is strapless and the cups are shaped and molded underneath the jersey. The silk has been is hand draped so that is sits  in soft folds over the bust. The folds are set on a slight angle and one section in the middle has been used to create a wide open loop. Through that opening winds a wide black silk taffeta sash that drapes down at the front to follow the curved angle of the bust line and then ties at the back. I have tied it into a more formal bow but you could also leave this to trail down the back. The use of the contrasting black ribbon adds both a simple and romantic touch and also visually cinches in the waist area even more then the interior corseting already does. The skirt billows out to a beautiful fullness beneath the tapered in waist. The shape and fullness that you see is built into the skirt through layers and layers of silk netting and tulle underneath. The inner construction of the dress is absolutely exquisite with a boned and corseted interior made entirely made by hand and to Haute Couture standards. Under the skirt there are a three full layers of silk tulle and netted underskirts to achieve the shape that you see. I did not add any additional crinolines here but you could create an even fuller shape by adding a separate underskirt if you wished. It is a beautiful example of the very early work that the House of Balmain was doing and a wonderful example of the golden years of Haute Couture. Excellent condition with some small notes to review below.

Fully lined in a ivory silk with extensive boning, inner construction and skirting. It closes with an intricate combination of the Balmain signature, multiple chest and waist stays and two zippers. One to close the inner corset and the other to close the exterior dress The inner layers of the skirt are attached with some having addition half layers at their hems for additional volume. The innermost skirt is interlined with netting and the built in corset is made of lingerie netting and hand done padding. It is boned with metal boning. There is perhaps some very minor darkening to the lace here and there. Very small areas here and there of darkening to the inner bodice. On the exterior bodice there are areas of light yellowing that run across the sides. It is very faint and once on I think you would never even notice it as they are across the fabric and in the folds mainly. None of this compromises the strength or integrity of the dress and it is strong and wearable with the care. All of the photos to show the stunning details of the dress are before the shot of the label and the shots to show the sides of the bodice mentioned above are after the label shot. It really is in remarkable condition. Proper Haute Couture label and tape underneath, though the writing on the couture tape under the label has faded to almost nothing.

Bust: 15" flat across the back from side seam to side seam with cups built in that would fit an A or smaller
Waist: 11.5-12" flat across from side seam to side seam
Hips: open
Bodice: 5" from top of bodice to seam under front cups
Skirt: 36" from seam under the cups to hem

Modern Sizing Equivalent: XXS-XS

Item# DD3344

Reference Photos: (1) Model Ann Farrar in Pierre Balmain A/W 1954-55 "Ecume" Dress. Photo by Philippe Pottier.  /  (2) Backstage at Balmain, 1954. Photo by Mark Shaw.  /  (3) Marie-Thérèse in an evening dress called "Clorinde" by Pierre Balmain, Fall/Winter 1954-1955 Collection.

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

I am so in love with this dress. The lines of it are pure Yves Saint Laurent for this time period and it is just extraordinary. The dress is made from a combination of a deep silver grey silk taffeta that he has used for the body of the skirt and the matching ruffled shawl, combined with a black, sequin detailed lace bodice. That same sequin lace is also used to finish the lower part of the skirt's wide hem. The dress is suspended from the shoulders by two thin silk ribbons. You could also easily tuck those in and wear this as a strapless piece if you wanted. Under those straps the bodice is covered in a black silk lace netting that has a secondary design made from applied silk organza to give it a 3D feel. Over this are black sequins that have been used to highlight the design created by the silk and netting. The bodice is backed with a black silk but on the hem of the skirt, where the same fabric has been used to finish it, it is not backed. This gives you a touch of transparency there that is very sexy as some parts of the skirt are actually cut quite high up the leg when you just look at where the grey silk part falls to. The skirt itself is extremely full so that when you move you will get a lot of volume and movement. It has a long matching silver silk sash that cinches in the waist as much as you wish. It also comes with its original matching shawl. The shawl is very large and finished with a wide ruffle all the way around. As good as it looks on a dress form, on a real body it really comes alive. Excellent condition with a couple of minor notes below

Fully lined through the bodice with a black silk and the grey part of the skirt has a black silk chiffon inner skirt. It closes at the side with a metal and nylon zipper. Tagged a vintage YSL 42. There is a faint mark on the side of the skirt near the seam and bottom of the grey part of the skirt that you only would see if you lay it out flat as I have. The straps show some wear and fraying at their very tops. Please review the first two photos after the label shot. The shawl has a small blue mark near a seam and there are some watermarks/scuffs to the fabric. These are shown in the last two shots. All are minor.

Bust: to 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 17" from top of shoulder to waist
Skirt: approx 42" from waist to longest points and approx 25" to shortest
Shawl: 57" x 46"

Modern Sizing Equivalent: SML-MED

Item# DD3342

Reference Photo: Model in Yves Saint Laurent F/W 1981-82 Rive Gauche Collection. Photo by Helmut Newton. From the book "Yves Saint Laurent: Icons of Fashion Design" by Schirmer/Mosel.

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 Yves Saint Laurent piece is the later version of the black one I also listed today and it is just as fabulous. The color of the deep burgundy sequins is amazing. The color is very rich feeling the sequins bring it to life even more. Every square inch of the piece is finished with them. For this one the sequins are laid out flat and set side by side to cover the entire piece. Like its slightly older counterpart it too can play double duty. It is more of a short, mini dress length but can also be worn as a tunic. Either way you will be showing off a mile of leg. The neckline is slightly scooped and the shoulders themselves are lightly padded and squared off so you get a touch of structure. The sleeves are long and the body of the tunic dress is cut to skim over the body in an easy, relaxed way. The sequins are shimmer in the light and in person it is even better then how it photoed. I love the piped detailing that finishes each cuff, the neckline then runs down the back on either side of the zipper. It's fabulous. Excellent condition

Fully lined in a burgundy silk  crepe and closes with a zipper at the back. Light padding in each shoulder. Tagged a vintage YSL 40

Sleeves: 24"
Slightly dropped shoulders: 15.5"
Bust: 19.5" flat across from side seam to side seam
Waist: 18.5" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 30.5" from shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3334

Reference Photo: Yasmeen Ghauri for Yves Saint-Laurent, F/W 1996-97.

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

Christophe Decarnin headed Balmain from 2005 as a designer and was named the Creative Director for the brand shortly after. He remained there until 2011. He was largely responsible for revitalizing the couture house, turning the label into his own rick-chic vision, and bringing in a much needed younger clientele. This tunic is a runway piece shown for Spring 2008. It's twin was worn as a tunic for Look 31 in the show.

The tunic is pure Decarnin - it has the unexpected rock chic feel to it and you can easily see its influence with what we are now seeing on the runways. Every square inch of the piece is finished with little silver sequins. I love that they are not your typical round sequins either. Each is a bit of an abstract shape and they have been applied to the silk organza underneath with silver metal thread that is top stitched over them. This creates its own secondary texture and gives the sequins a more interesting effect. It is also a little extra special because it can potentially play double duty. It can absolutely be worn as a tunic but if you are brave and don't mind showing off a mile of leg it is probably just long enough to be worn as a micro mini depending on how it sits on you. Especially with the addition of a pair of tights underneath. The neckline is scooped and the shoulders are unstructured so that is sits loose and easy on the body. The sleeves are long and the body is cut to skim over the body in an easy, relaxed way. The sequins are a brilliant silver in person the way they shine and shimmer in the light is far better then how it photoed. It weighs almost nothing and it is a piece that perfectly sums up Decarnin's tenure at the brand. Excellent condition

The sequins are directly applied to a white silk organza and it slips on to wear with no closures. Tagged a 36

Sleeves: 19"
Slightly dropped shoulders: 15.5"
Bust: 17" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 28" from shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD3333

Reference Photos: Spring 2008 Balmain Runway Collection, Look 31. Model: Kim Noorda.

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

I absplutely love this Yves Saint Laurent piece.  I just had a blue version of this come in the shop a few weeks black and was very happy to find this black one. for you. The sequins are glossy and a true deep ink black and they cover every square inch of the piece. It is also a little extra special because it can play double duty. It can absolutely be worn as a tunic but if you are brave and don't mind showing off a mile of leg it is just long enough to be worn as a micro mini. Especially with the addition of a pair of tights underneath. The neckline is slightly scooped and set wide across the neck which allows for a little bit of skin to show on the top of your shoulders. The shoulders themselves are lightly padded so you get a touch of structure. The sleeves are long and the body of the tunic dress is cut to skim over the body in an easy, relaxed way. I love the detailing around the cuff of each sleeve and the bottom hem. It creates the impression of a ribbed sweater but this is all actually done with hand placed tube beads. Excellent condition

Fully lined in a black silk and slips on to wear with no closures. Light padding in each shoulder. Tagged a L but check measurements. The loose cut should fit a variety of sizes

Sleeves: 23.5"
Slightly dropped shoulders: 15.5"
Bust: 19" 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: 32" from shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3332

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

There is nothing like vintage Pucci and his cotton pieces that were meant for the beach are among my absolute favorites. This fabulous little cover up instantly makes you think of far off tropical luxury, combined with lazy days spent by the ocean, with umbrella topped drinks in hand. It is superbly simple in cut, allowing the beauty of that custom screened cotton to shine. The colors are pure and blissful pinks. He effortlessly mixes different hues of pink and then highlighted them with pops of white and grey. The angular pattern is all edged in fine black and signed throughout with that famous Pucci signature. It is made of a thicker twill weight cotton and buttons down the front with the buttons hidden under that front border. You can easily wear it on its own as a mini dress, or even layered over other pieces as more of a tunic. Excellent condition with a couple of very minor notes below

Unlined and closes at the front with hidden buttons under the front panel. There is a slight bit of fading near the arm, A teeny spot near the front hem and faint mark at the front. Please review the three photos after the label shot. These are all extremely minor. Tagged a vintage Pucci 12

Bust: 19" flat across from side seam to side seam
Waist: 19" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 28" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD3330

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 early eighties are a time period often overlooked in the Paco Rabanne history but there are some lovely pieces that came out of this time period. This dress is definitely one of them. It is made from a white crepe and has a nod to the earlier mod shaped shift dresses that defined his career. The white of the fabric is still crisp and this contrasts perfectly against the rope and chain detailing that finishes the edge of the neckline, sleeves and hem. Building on his iconic chain link pieces, all of the edges of the dress are finished with a series of open gold toned metal grommets that are linked together with little silver circles of metal. A rope runs through the upper edges for a slight nod to a nautical feel. It is very chic and with the recent revival of the Rabanne house, it feels very modern. Excellent condition

Fully lined in a white silky satin rayon and closes at the back with a zipper.

Bust: 18" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 32" from shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3323

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

In 1981 Haslton was still in full control of his brand. He had not yet signed the international licensing agreements (that was to happen in 1983) that would be the beginning of his downfall. In fact, at this point in the Halston history, he was at the top of his game and anyone who was anybody was wearing the Halston label. His prices were sky high and the work put into the pieces was impeccable.

The fabric for his beaded and sequin pieces were being made in India. Halston personally chose the fabrics and materials that were used for each piece of his main line collections. The 1981 collection was especially intricate and the majority of the runway garments were heavily beaded and/or sequinned. In the book Halston, An American Original, the twin of this dress is shown as it appeared on the runway for that season. It is interesting that he chose to show it belts belted with a sash so that the length is shorter. The dress is extraordinary and all of the bead work on it is completely done by hand. The beads are tightly spaced and all have been hand applied onto the fabric which you can clearly see on the back of the fabric. I love the pale mix of pastels colored beads that were used as it gives the dress a soft and pretty feel. The fabric that the beads have been applied to has just the slightest touch of transparently to it which I love. The silhouette is very simple with a scooped front and back and then it just gently widens out as it reached the hem. This makes it very easy to wear and very flattering on the body. Really a wonderful and rare example of his work during this time period. Excellent condition.

Unlined and has no closures. It slips over the head to wear so you have to be small enough to get it on without a opening. You could probably add a side zipper along the seam if needed. The bead work is completely hand done.

Bust: 17" flat across from side seam to side seam
Waist: 16.5" flat across from side seam to side seam
Hips: to 19.5" flat across from side seam to side seam
Length: 41.5" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3322

Reference Photo: Spring 1981 Halston runway collection from the book 'HALSTON: An American Original' by Elaine Gross & Fred Rottman.

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

Nat Kaplan was a dress manufacturer that opened in 1935 and produced well-made mid-range garments for about 50 years. They tended to use great fabrics and the pieces were finely tailored. Fit was paramount and they did not skimp on details to give their clients amazing value for their money.

This dress is beautiful and and very feminine feeling. The bodice is fitted with little cap sleeves. The waist is set high and is detailed with a pretty flat bow that is made from the same fabric as the dress. The skirt falls from there to a midi length. The fabric itself is wonderful and unusual. It is a lovely silk brocade that has a slightly raised flora design covering its surface. You can see a very subtle striped effet in the base silk. The is part of the fabric itself and these bands change rom the palest pink to the palest green. The pink, gold thread and green print is then woven though that. A gold metallic braiding details the sleeve edges and the neckline. There are little pink and clear rhinestones set into that and down the front there are also bug huge glass crystals for extra glamour. It is just lovely. Excellent condition with one small note below

Full lined though the bodice in an ivory silk satin. The sleeves and skirt have a silk interlining. It closes with a painted metal zipper at the back. I see a bit of grubbiness to the edge of the hem at the fold.

Shoulders: 13.5
Bust: 17.5" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 22" flat across from side seam to side seam
Bodice: 12.5" from neck to waist
Skirt: 37" from waist to hem with 2.5" turned up under the hem

Modern Sizing Equivalent: SML-MED

Item# DD3320

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 green and blue colorway walked the spring 1993 runway and I have included that footage here for you to see it on and in action.  It is very representative of that season and I am very pleased to have this example in the shop.

The dress is made from a crisp cotton that has enough weight and structure to it to perfectly fall into the line that Yves desired it to have. The dress perfectly represents this time period and you can see the transition from the stronger, more angular shaped of the eighties slowly moving into simpler shapes for the 1990s. The vivid color ways from the 1980s are still there, but the shape is softening and becoming simpler and less of a sharp angle from the shoulder. It is cut to skim over the body. On the runway it was worn belted for more shape and you could easily do that to this one. The base is a bright pink that in person is a little softer then how it photoed. This is then edged with a wide grosgrain ribbon in turquoise. The neckline is cut in a high V and the dress crosses over itself at the front. It begins to button at the base of the V and then closes sown that one side. The buttons are large and each is a combination of a gold toned metal with poured red enamel. It is amazing on the body and a rare find. Excellent condition with on tiny note to review below

Fully lined in a matching pink silk and closes with the buttons as seen. Padding in each shoulder. Tagged a vintage YSL 38. There is a small, faint mark on one shoulder which I have photoed and shown after the label photo. It appears to have been let out a touch along the hips at some point.

Shoulders: 15.5"
Bust: 19" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: 19.5" flat across from side seam to side seam
Length: 36.5" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD3319

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

Norman David Levinson launched his label - Norman Norell in 1960 and he was quickly the darling of the social set and starlets. Lauren Bacall often wore his pieces fr example. He was known for his impeccable tailoring, meticulous fit, and quality fabrics. He often took day shapes and made them out of more evening appropriate fabrics - like fine silks as this one has been created from. He had the unique ability to translate Paris couture into American ready-to-wear and with prices to match their French counterparts.

I absolutely love this dress. The lines and cut are somewhat similar to a dress I have had in the shop previously that was dated to 1963. This one is even better then that one was with its bright and cheerful checked print. The silk is a very high and fine grade and I love a pink and white gingham print. It has an extravagant and wide, attached tie in the same fabric that you can use to create a dramatic bow as I have. It comes with its original belt covered in a matching fabric which allows the waist to be cinched in tight. The sleeves are incredible. Each is cut on a curve to follow the natural shape of the arm. The pouf up at the shoulders and narrow to the wide cuffed wrist. Each cuff is a full 4" long and closes with four thick, hand cut mother of pearl buttons. The interior of each sleeve is finished in a silk organza so that the sleeves keep that volume that you see. It is cut to be more fitted through the bodice and then the skirt has incredible volume. I took a photo of the inside so you can see how its gathered up and through the waist to give it that fullness. If you wished to, you could add a crinoline to get a really full look.  It closes down the front with another row of those same thick MOP buttons in a larger size then the ones on the cuffs. The workmanship on this dress is incredible. This is an amazing example of his early work and of dress making during this time period. Excellent condition with one small note below

Fully lined in a hand set white silk through the bodice and ivory silk organza through the sleeves. The skirt is unlined. Closes down the front with a series of hand carved MOP buttons. Each sleeve has four MOP buttons. The white on the silk of the belt has darkened a touch over time as you can see in the photos. The back of the belt is stamped Norman Norell. Hand finished. One side of the tie at the neck is slightly shorter then the other but this is how it is meant to be so that when you tie it they fall evenly. 

Sleeves: 26"
Slightly inset shoulders: 13"
Bust: 16" flat across from side seam to side seam
Waist: 11" flat across from side seam to side seam
Hips: open
Bodice: 14.5" from top of bodice to bottom of the waist banding
Skirt: 35" from waist to hem with a 5" hem turned under

Modern Sizing Equivalent: XXS-XS

Item# DD3318

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

If you loved the recent trend towards big pouf sleeves and and that cut that was pure eighties glamour, then you will absolutely love this original 1980s dress. I think it's amazing It is made from a pink silk that has a secondary design woven through the silk and provides a bit of contrast between the finish of the two silk fibers. In person the pink is a truer pink hue then how it photoed and even better then what you see. It has padding in the shoulders so the shape is held perfectly and the front and back plunge into a deep V right to the banded waist. The waist is defined with a wide band of the same silk that is top stitched and quilted into horizontal rows. From under that wide band at the waist the skirt falls in a neat column to just past the knee. The sleeves are of course the star of the show on this dress and  each is cut into spectacular huge poufs. The volume you see is not from me stuffing them with anything either. They are cleverly finished on the interior so that is the effect they have when on. Love it from shoulder to hem  Excellent condition

Fully lined in a pink crepe chiffon. It closes with a back zipper and ties at the back of the neck. Each cuff buttons to close with two sparkly faceted pink crystal buttons. Padding in each shoulder, Tagged US6.

Shoulders: approx 15"
Bust: approx 17" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Bodice: 10" from neck to top of waist band.
Waist Band: 4"
Skirt: 20" from bottom of waist band to hem

Modern Sizing Equivalent: SML-MED

Item# DD3317

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

George Stavropoulos was known for his evening wear and his signature looks focused on cut and fabric to convey the beauty of each piece. He launched his label in 1960 and soon was dressing women like Elizabeth Taylor, Jackie Kennedy, Barbra Streisand and Maria Callas. His dresses were made by hand and to couture standards. By the early 1980s a gown by him started at around $8500 and they went up in cost from there - that starting price point equals to around $26,000US in today's dollars. So when you buy a vintage Stavropoulos piece you are getting incredible value for your money. The only reason his work is not under the actual Haute Couture category is because he was not an official member of the association.

This came from the estate of a woman who was a personal friend of George Stavropoulos and the set was custom made for her. It is incredible and you are really getting two couture level garments that you can easily wear as a set or separately. Very fine, high end silk was used to create both pieces. The silk that was used is very fine tissue silk in the perfect ivory. It has a stunning metallic gold thread embroidered and woven directly into the silk that forms borders, panels and the scattered motifs that you see. All of these are placed to highlight the design and cut of each piece. As a result is has an exotic Indian sari feel to it that has been westernized to combine the two ideals perfectly. Pieces were still being made specifically for the Western market and designers like Stavropoulos were using the beautiful, traditional silks that were now available. The dress is cut with a single shoulder that is made from a panel of the gold that runs up the side of the dress. The bodice is fitted with a hidden more structured interior. The waist curves in and then the skirt falls under that mixing the cream and gold parts beautifully. The jacket is cut to be oversized with just past the elbow sleeves and a loose cut. It is full and has lots of volume.  It is so well made you could flip it inside out and wear it. I love the contrast between the volume of the coat with the fitted dress underneath. It is beautifully made and very light. Excellent condition with a couple of minor notes below

Both pieces are fully lined in an ivory tissue silk. The dress closes with a back, hand set painted metal zipper and the jacket has no closures. The interior of the bodice is shaped and boned. All hand finished throughout to demi-couture standards and beautifully made throughout. On the dress I see the tiniest ares of fraying along the top of the fold near the one shoulder panel. There is the slightest of yellowing to the silk on the other side but it really only shows in certain lights and barely even then. The gold thread used has real metal in it and this has tarnished slightly over the years. Please review the final four photos after the label shot. The coat is pristine. I will also include a matching scarf that is not photoed. It has hand rolled edges and measures 77" x 16"

Dress
Bust: 17.5" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 41" from shoulder to hem

Coat
Sleeves: approx 19"
Shoulders: no true shoulder seam
Bust-hem: 24 widening to 29" flat across from side seam to side seam
Length: 42" from neck to hem

Modern Sizing Equivalent: SML-MED for the dress, The coat is OSFA

Item# DD3316

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