I recently had a version of this dress in the shop that had a darker backdrop to the flowers. I am so pleased to have another one so soon. This one is even a little more special because it is an exact match to the one we have so much documentation on. The twin of this dress was used for the 1992 ad campaign that was shot by Helmut Newton. That campaign featured the beautiful Karen Mulder. It was also featured in Vogue that season on the equally stunning Beverly Peele. And if that was not enough we also have the original runway footage so you can see just how gorgeous it is on and moving. In the Vogue editorial it also included some interesting information that tells us that the original retail price of the dress was $1695USD, which would be the equivalent of $3009USD in today's dollars. Yves pieces are only increasing in value each year and this one is still a bargain even at its higher price. It is pristine and a very collectable vintage piece due to its strong provenance. This was one of the iconic pieces of that season and I am very pleased to have found this one.

The dress is made from a soft silk that has a slight texture to it. It has just enough weight and drape to it to perfectly fall once on the body, skimming over your curves in a chic and simple line. 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 while still retaining the emphasis on the shoulders that the eighties had. That touch of excess from the 1980s is still there, but the shape is softening. The neckline is scooped and set wide so that you get a glimpse of collar bone. Vertical seaming runs down the front on either side so that is has some shape but there is no break in the line that a waist seam would have made. The skirt is slim and straight. The sleeves are the star of the show and each has an elastic at it end and lots of gathered fabric above that that gives it the volume you see on the dress form and the two reference photos provided.  It is amazing on the body and a rare find. Excellent condition

Fully lined in a white silk through the body and a silk chiffon through the sleeves. It closes with a side set zipper. Elastic at the end of each sleeve. 

Shoulders: 14"
Bust: 17" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 35" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3716

Reference Photos: (1) Karen Mulder for Yves Saint Laurent, Spring 1992. Photo by Helmut Newton.  /  (2) Vogue US, March 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.

This is another amazing piece from my client whose aunt had most of her clothes made. This one, like several others already in the shop, was made by Ady Couture and the story behind this label is fascinating. Ady Couture was based out of Lausanne Switzerland. She would buy couture fabrics from the couture houses along with the patterns, and then with permission from the ateliers, would make copies of the pieces presented in the Haute Couture collections from those ateliers  When she was younger, and lived in Amsterdam, Ady would travel to attend the private viewing and purchase directly from the couture houses and built up strong relationships with them. My client believes that negotiating the arrangement to make things at her own atelier was a way to work around customs and that is what prompted Ady to negotiate this unusual arrangement with the various couture houses. In my hunt for more information I have been able to verify that they made permissible copies of the work of Yves Saint Laurent, Christian Dior, Givenchy, Lacroix and Ungaro. There may have been others but this are the houses I am confident on. The dress is completely made by hand to Haute Couture standards and it is incredible.

This is a dress that when you see it on the hanger is really doesn't look like much but the second it hit the dress form it came to life. I can only imagine how amazing it will be once on an actual body. It is made out of a rich liquid silk satin that drapes and falls over the body beautifully. The bodice is cut to drape into place in a loose and easy way and then it nips in at the waist. The skirt below that hugs the hips and is scooped upon at the front. A long attached tie drapes over the scoop at the front and makes it wearable (barely) as a micro mini if you dare to wear something this short. If you are not as brave you could wear it with opaque tights or as a top over pants or a skirt. The panel that is attached around the waist hooks into place and then the hooks extends up and below with more hooks. This is how it closes and when you unhook it the entire dress opens. There is a long open slit between where the hooks and above the waist and the hook that sits at the neck below the bow. What is fascinating about this one is that you could easily wear it either way on the body. I have photoed it both ways for you to see. It definitely gives the piece more versatility and you can style this one a million ways. It is gorgeous and that pop of bright colour is just spectacular. Inside it is completely finished to couture standards with every seam hand finished. I have taken some detail shots for you to see the fine workmanship. This is a very difficult fabric to work with and it is finished to perfection. It is an incredible piece and beautifully made. It appears to have been worn very little if at all. Excellent condition 

Unlined with couture finished inner seaming. The dress/tunic wraps around you and hooks into place at the waist and then has more hooks above and below that. Hand finished throughout. Softly padded shoulders and padding is also hand made. It appears to have been worn very little if at all. Made to Haute Couture standards with a tremendous amount of detail put into its construction.

Sleeves: approx 26"
Shoulders: no defined seam
Bust: is loose and open to 23" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: to 19.5" flat across from side seam to side seam
The length is very hard to measure because it is all bias cut... it is approx 36" long once on - you can adjust it uo or down a bit by pulling the bottom panel higher or lower

Modern Sizing Equivalent: SML-MED

Item# DD3717

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

This gorgeous little Oscar de la Renta is a part of the 1968 collection and its twin a longer yellow silk version is a part of The Museum at Fit's permanent collection. Versions of this dress were made in both lengths and in a couple of different colour ways. The label in the dress identifies it as being a part of his earliest main line. When Oscar De la Renta first started his career he began a partnership with the fashion house of Jane Derby in 1965. Jane Derby died shortly after and in 1966 the first labels that bore only the Oscar de la Renta name appeared. That makes this a very early example of his higher end work. The dress is gorgeous and one of my favourites from all the pieces of his that I have had over the years. 

The dress is very beautiful and is an absolute knock out once on. It is also very representative of his work during this time period. The fabric is quite exceptional and the silk metallic brocade forms a stunning design that runs from shoulder to hem. The fabric is lighter in weight then you would think at first glance. It is heavy enough to hold and retain the shape that he desired it to have but is still light enough so that it feels easy and comfortable to wear. It has a very refined feel to it but it feels youthful and fresh at the same time. It perfectly sums up Oscar's love of opulence mixed with the exuberance of the decade. The cut is kept simple to allow that stunning fabric to take centre stage. The skirt falls from the waist and widens out slightly as it nears the hem. I love the hidden pockets that are along the side seams of the skirt. The waist is seamed but left more on the open and easy feeling side rather than being severely cinched in. The bodice has simple sleeves and is cut to skim over the body. The fabric is a silk brocade that is a gorgeous mix of soft pastels that are primarily in pinks and a soft yellow in colour. Woven through that is a silver thread that adds a soft metallic shimmer over the entire dress. The front of the bodice is spectacular. It is cut to the waist but caught up with these high elaborate knots made out of silver braiding. Large crystal rhinestones are set into the coils. More silver cording and rhinestones follows the scalloped edges at the front and then more of the same runs around the waist and around the ends of both cuffs. It is gorgeous. Excellent condition with a minor note below

Fully lined in a bright yellow silk with ribbon finished interior seams. It closes at the back with a painted metal zipper. The dress is sewn together where the edges meet down the front centre and the knots closures are decorative only so that you just get a cut out effect there. The dress shows minor patina to some of the cord work and on a tiny part of the fabric near the arm. Please see the two photos after the label shot. The fabric has the slight feel of softness to it from normal patina and aging. 

Shoulders: 15"
Bust: 17" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: open
Bodice: 15" from shoulder to waist
Skirt: 23" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3718

Reference Photo: 1968 Yellow Lurex Brocade with Silver Oscar De La Renta Evening Dress from The Museum at FIT 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.

The notes for the 1972 collection in the book 'Dior, The Catwalk' tell us that The New York Times declared Marc Bohan's collection for Dior as 'the best of the season in Paris'  that year. There was also the information that of all the Dior collections, the full records for this particular one did not survive the passages of time so finding a piece that is so well documented is a bit of a miracle. The version of this dress that has a higher neck line and tie bow was photoed by Richard Avedon that year. It was also shot for the September issue of Vogue and one is held in the V&A collection. When I found these photos I also found the caption that went with the Vogie shot and I lovedhow it described the dress: "Pretty. That's really the word for it - the softness of everything at Dior. So feminine at night especially...The flirt of the sleeves on a short dress for evening...black mousseline, covered at the neck and yet...revealing lots of skin beneath and lots of leg below". During this time period Bohan often made a series of couture dresses that had different necklines so that his client could choose their level of modesty that they were comfortable with. I love both versions but I think I prefer this lower V neckline when it comes to actually wearing it. It allows those spectacular sleeves to take full centre stage and that little extra skin gives it a more modern twist. You can also wear a wide variety of jewels with this neckline and I think that gives you more styling opportunities. The dress is exceptional.

This is an exceptional example of his work during this time period. The dress is entirely made from a feather light silk chiffon. This fabric is notoriously difficult to work with and when you add in that it was all entirely made by hand the level of workmanship takes on a whole new meaning. There is a slight texture to the fabric and this helps to lift and add volume while still keeping the weight to the absolute minimum. The sleeves are incredible. Each sleeve is a single layer of that fine silk chiffon and they are cut to be extremely full. As they near the cuffs the shape is further exaggerated and they poufed over their cuffs. Just above the elbow is a panel of the same silk that has been wrapped and attached around the arm. This lays over the lower portion of the sleeve and is set so that it flares out. It is a very unusual treatment to the sleeves and instantly catches the eye. When you move it has a beautiful floating movement to it that you can see in the reference photos. The bodice skims over you and a simple collarless V runs down the front. It plunges almost to the waist and is stopped by a tiny stitch at the base of the V. The skirt is made of layers of silk chiffon that are set on the bias. There are two of the black and then a nude silk under that. The shape this creates mimics the detailing on the sleeve and when you move the skirt also will move. At the back is the final perfect detail. It has been finished with just a single layer of chiffon so that you see the entire bare back though the silk for an unexpected touch of sensuality. This is a rare piece of fashion history. The proper Haute Couture label is present and is dated and numbered. Excellent condition with a small note below

Fully lined in a nude silk chiffon except for the sleeves and upper back above the waist. The back closes with a low set, fine metal zipper and then the dress snaps to close with a series of tiny snaps up the back of the dress that run over the zipper, past the waist to the neck. Each cuff buttons to close. There is a tiny area of thinning on the top of one shoulder. Please see the photo after the label shot. Entirely made by hand. The Haute Couture label is present and the dress is numbered #01340

Sleeves: 27"
Shoulders: 14.5"
Bust: 16" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Bodice: 15" from top of bodice to waist
Skirt: 24" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3031

Reference Photos: (1) Karen Graham in a chiffon dress by Marc Bohan for Dior, Autumn/Winter Collection 1972, photo by Richard Avedon, July 1972.  /  (2) Dior dress in Vogue, September 1972.  /  (3) 1972 Christian Dior Dress part of the V&A 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.

Geoffrey Beene was one of the great American fashion designers and he was recognized for both his artistic and technical skills. He launched his label in 1963 and a piece from his very first collection landed the cover of Vogue. A Coty award followed a year later and in 1984 the Council of Fashion Designers created the annual Geoffrey Beene Lifetime Achievement award in honor of Beene's fashion legacy.

This dress is gorgeous. It is one of his signature looks to use lace  backed by a nude chiffon to create the illusion of bare skin underneath. We have all seen countless modern designs take their inspiration from his pieces like this and here we have a really exceptional original. It is really one of the best cocktail dresses from this period I have had. The workmanship is very fine. The dress itself is light in weight. It is made from a fine black netted lace that has black silk ribbon worked over the surface to make up the floral feel that the lace has. This also gives the dress a slight 3D texture that is very beautiful. Under all the parts of the dress that has the lace is a lining done in a nude silk that is very light and fine. The illusion lace is used for one sleeve, half of the bodice and the skirt. The other sleeve is a solid black silk. The solid silk then goes over the bodice as panels on both the front and back and then these extend out to ties that you wrap over to one side and tie just above the hip. I love how this is cut to curve slightly above the waist seam. Doing doing so creates this subtle secondary line between the curve and the seam that most designers would not have done or thought to do. The contrast that the play between the solid back and the lace creates is fantastic. Add to that the perfect fit where every seam is done to highlight and flatter the body. It is really an amazing dress and a testament to Beene's genius. Excellent condition with a minor note below.

Fully lined in a nude silk and closes with  back hidden set zipper. Each cuff zipper sot close. The exterior shows no wear. Inside the is a repair under in arm in the silk with very slight/minor change of colour there. Please see the photo after the label shot. It does not show at all on the exterior

Sleeves: 24
Shoulders: no defined seam
Bust: 17.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Bodice: 16.5" from top of bodice to waist
Skirt: 19.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3814

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

I have several interesting pieces coming that are from a client whose aunt had most of her clothes made. This dress was made by Ady Couture and the story behind this label is fascinating. Ady Couture was based out of Lausanne Switzerland. She would buy couture fabrics from the couture houses along with the patterns and with permission make copies of the piece presented in the Haute Couture collections. When she was younger, and lived in Amsterdam, Ady would attend the private viewing and purchase directly from the couture houses. My client believes that her arrangement with the ateliers was a way to work around customs that prompted Ady to negotiate this arrangement with the ateliers. In my hunt for more information I have been able to verify that they made this permissible copies of the work of Yves Saint Laurent, Christian Dior, Givenchy, Lacroix and Ungaro. There may have been others but this are the houses I am confident on. I feel that this particular dress has a very Christian Lacroix feel to it and it would have been made during the time period my clients aunt lived in Switzerland, from the late 70s to 1993. The dress is completely made by hand to Haute Couture standards and it is gorgeous

The dress is made out of an inky black velvet that reflects back the light around it remarkably. It has a slight bit of a texture to it that adds to that feel and it really adds a dimension to the fabric. The design is very Lacroix and has the feeling of his earlier work especially in the back with its open cut outs, bows and that flounce at the hem. At the front the dress has a very simple cut. The sleeves are long and slim down as they near the wrists. The shoulders are soft and rounded and the neckline is squared off and cut wide across. The dress skims over the body with just a suggestion of shape through the waist but there is no seam there to break the eye. The skirt flares out softly. simple and perfect. Then, when you turn around, the dress becomes pure drama. It starts with an angled diamond shaped cut out at the top that exposed the bare skin of the back. two panels of fabric that are finished with a black silk taffeta fold out on either side of the diamond and then a large black silk bow is placed at the centre. The seam under that hides the zipper and then there is a second bow just above the bottom of the skirt and over a flounce of fabric that extends longer then the rest of the hem. There is silk gathered underneath that bottom flounce for a bit of volume and if you really anted to exaggerate the line there, I feel that you could put a crinoline under the skirt that has all of its volume at the back. This would really create an interesting shape. It is gorgeous worn as is of course but I always love to have an option to create even more drama should the occasion call for it. The workmanship is of the highest quality and I had added an interior shot so that you can see how beautiful it is finished. It is completely finished by hand to Haute Couture levels. It appears to have been worn very little if at all. Excellent condition 

Fully lined in a black silk satin and closes with a hidden set back metal zipper. Each cuff zips to close. Light padding in each shoulder. Made to Haute Couture standards with a tremendous amount of detail put into its construction.

Sleeves: 24"
Shoulders: 15"
Bust: 17-18" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Hips: to 18.5" flat across from side seam to side seam
Length: 31" from neck to front hem, 36" to the longest point of the back hem

Modern Sizing Equivalent: SML-MED

Item# DD3815

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

The Vogue review of the Spring 2003 show was extremely complimentary. This was at the height of Ford's vision for Gucci and he could do no wrong. The review said 'The Gucci girl’s got legs—long, tan, flawless ones striding along on silver peep-toe sling-back pumps. Follow them all the way up, and around two weeks later, they eventually meet the hem of the minutest piece of clothing that was ever called a skirt or dress. For spring, in a word, Tom Ford says short. Using lustrous fabrics in subtle makeup colors from blush to tawny brown, pearly gray and silver, Ford draped and wrapped his gorgeous girls in clothes that navigated that dangerous Gucci line between innovation and vulgarity. The tousled hair, the jackets and tops poised to fall off shoulders—the whole presentation stirred sensations that fashion hasn’t felt since the last days of the great supermodels. Still, don’t think tacky. Ford’s obsession now is integrating fine workmanship into abbreviated silhouettes. He took the idea of a kimono and portrayed it first as a simple silk beach cover-up, then as an elegant formfitting dress, painstakingly made from hand-painted strips of silk. He brought couture finesse to racer-back feathered dresses with the merest flip of a skirt. And with lightest touch, he wove white and rose gold into fragile ribbons to tie around wrists—the most modern-looking jewelry in Milan. When Carmen Kass closed the show in a dress made entirely of the same precious ribbon, it was a confident statement in the power of glamour. And fashion needs that.' To this day this is one of the most recognizable and desirable shows to find pieces from. 

One of the things that makes this dress exceptional is that it is true to the runway and is entirely original. I have seen this dress come to market before and most are the more conservative versions that don't drop as low at the back as the show version did. (There is a photo of Sarah Jessica Parker in that version that I have not included here but it is out there to google). Many of the ones that you see were also altered and if you looks closely they don't have the same original stitching at the hem and at the ends of the sleeves like this one does. It also still has its original elastic across that back which was meant to keep it in place on a hangar and in the body. Most women removed this before wearing so is very rare to see one still with this in place. You can see it in the runway shots too. The dress is meant to be worn short and the jersey stretches so accommodate the hips so that it stays in place. The rest of the dress just blouses over loose and easy. I have shown it on the dress form the way it is meant to be worn and like you see on Frankie in the runway shots and also extended it to its full length so that you can see the full pattern on the dress. The top is loose and easy and is meant to be worn low down the back. It almost creates a ruffled effect. The front sits as low as you wish it to and you can also wear the dress slouched off of one or both shoulders. The sleeves have wide openings on either side and again the more conservative version was more covered with a more narrow opening. This is an incredible piece of the Tom Ford history with the brand and is one of the most recognizable pieces from his tenure with the label. It's an incredible piece of fashion history given that it is true to the runway version. It appears to have been worn very little if at all. Excellent condition. 

Unlined and slips on the wear. Tagged a size Large but the jersey has stretch and should accommodate a variety of sizes. It is very hard to measure with the stretch factor so I have given the comfortable range laying flat. 

Bust: approx 19-23" flat across from side seam to side seam
Waist: approx 17-21" flat across from side seam to side seam
Hips: approx 16-20" flat across from side seam to side seam
Length: approx 37" from top of shoulder to hem but can be pulled up as short as you want

Modern Sizing Equivalent: SML-LRG

Item# DD3707

Reference Photos: Spring 2003 Gucci Runway Collection, Look 3. Model: Frankie Rayder.

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 beautiful and happy feeling dress is one of my favorites from the pieces of Malcolm Starr that I have had in the shop. It was designed by Elinor Simmons, who was a young designer that Malcolm brought in to the company to design a higher end line for him in 1965. She eventually left in 1972 which giving us a window within to date the dress. Everything about this dress suggest the late 1960s or early 1970s.

The print on this dress is a wonderful mix of cherry red pinks mixed with mustards and a deep purple. The pretty Batik feeling print was then screened onto a crisp cotton. I love the mix of colours and the happy cheery feel that it gives the dress. You can also see how extremely well thought out and planned as evidenced by how closely the pattern matches at the seams. To accomplish this it would have had to have been all pre-planned out prior to cutting that fabric so that the print would exactly follow the cut and lines of the dress. This is a technique that is not as common to see anymore in modern ready-to-wear since it uses extra fabric and adds to the production cost. The dress is beautifully cut. The front bodice is cut to skim over the bust and the fabric crosses over itself to create a deep V. The sleeves are long and slim. I love how the print is laid out so that it creates a border around the neckline. This then runs down the centre of the skirt and curves around the bottom hem. The skirt flows out from the waist and it is quite full. The fabric choice helps it to keep its angled shape that you see as it widens out at the hem. The front of the skirt is slit up the centre to the top of the legs. It was most likely meant to be worn over a pant or shorts. If you preferred it closed it would be easy to add a series of hooks or just close the seam. It comes with its original matching fabric belt that has been densely covered in hand applied beads. These add a little touch of glitz and glamour to the dress and it cinches in the waist for added shape. It is gorgeous. Excellent condition with one note below.

Unlined and closes with a back metal zipper. The belt closes with hook and eye that could be adjusted or moved to get the perfect fit. There are a couple of beads missing near the hooks at the back of the belt. Please see the photo after the label shot.  

Sleeves: 22"
Shoulders: 14.5"
Bust: 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 14" from top of shoulder to waist
Skirt: 34" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3697

Reference Photos: Amanda Lee Shirreffs for her weekly column on our blog, Curated. (Photos by Erin Leydon) Click here to see the full column >

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

I have several interesting pieces coming that are from a client whose aunt had most of her clothes made. This dress was made by Ady Couture and the story behind this label is fascinating. Ady Couture was based out of Lausanne Switzerland. She would buy couture fabrics from the couture houses along with the patterns and with permission make copies of the piece presented in the Haute Couture collections. When she was younger, and lived in Amsterdam, Ady would attend the private viewing and purchase directly from the couture houses. My client believes that her arrangement with the ateliers was a way to work around customs that prompted Ady to negotiate this arrangement with the ateliers. In my hunt for more information I have been able to verify that they made this permissible copies of the work of Yves Saint Laurent, Christian Dior, Givenchy and Ungaro. There may have been others but this are the four houses I am confident on. I feel that this particular dress has a more Dior feel to it and it might even be a design that pre-dates the decades (the late 70s to 1993) where my client's aunt was buying and living in Switzerland. The dresses are completely made by hand to Haute Couture standards and are incredible pieces.

This dress is spectacular. The fabric is extremely high end and the workmanship is amazing. It is the perfect LBD. The design is very Dior and has the feeling of Dior's earliest work and in particular his last collection of 1957 where he used the shawl collar with a flower to anchor them. The collar is amazing. It is cut to wrap around you and sits high up and above the shoulders to frame the face. It is made out of a matte silk satin and I love the way that it drapes and folds into place. It creates a fabulous 'film noir' feel. At the front where is meets and hooks into place is a removable silk and velvet flower that adds detail and a touch of romance. I love that the flower was kept black so that the eye is not suddenly jarred. The tone on tone feel this creates is wonderfully dark and rich. Underneath is a simple pencil skirted dress that is made out of a moire silk taffeta in black. It skims over the bust, goes in with a seam at the waist and then falls in a sleek pencil to just past the knee. The shoulder have a light padding and you can see the hand done work and silk edging that they have added in the shot I have included here. The dress comes with its original silk covered belt that you can use to really add shape through the waist. Inside it is hand lined in a sensual black matte silk satin. The workmanship is of the highest quality and I had added an interior shot so that you can see how beautiful it is finished. It appears to have been worn very little if at all. Excellent condition 

Fully lined in a black silk satin and closes a back metal zipper. The belt buckles into place and the interior shoulders are lightly padded. It appears to have been for very little if at all. Made to Haute Couture standards with a tremendous amount of detail put into its construction. 

Bust: 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Bodice: 15" from top of bodice to bottom of band at waist
Skirt: 24.5" from bottom of band at waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3653

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

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 originally been a lingerie piece and meant to be worn under another dress. But in our modern world you could easily wear this out as a super sexy dress. What makes it possible for the dress to be worn outside of your house is the lining that they used. It is a lingerie weight opaque nude stretch jersey that sits under the top layer of black machine lace. There are built in cups that have under-wiring and the front laces up from the waist to the curving centre of the bodice. On each side of the top there is a panel of stretch netting that has a touch of transparency to it. The skirt falls in a simple pencil like shape with just a touch of volume created by the way it is set into the top part. It is super easy to wear and finding vintage lingerie that you could potentially wear as a dress is hard to do so it is a great find. Overall great condition with a couple of small notes below.  

Fully lined in nude stretch jersey and the cups have under wiring as described above. It closes with a side zipper. I see a couple of small repairs on the netting that runs on either side of the bust and a small repair in the lace at the front that you see more from the interior then the exterior. A small repair to the interior lining (not photoed). Please see the last three photos. There is a little give on the waist and bust measurements due to the lace front 

Bust: to 16" flat across from side seam to side seam
Waist: to 12" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 43" from top of shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# D627

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

Nettie Rosenstein was based out of New York City. She started a small home based dressmaking business in 1913 after getting married to Saul Rosenstein, who manufactured and made women's underwear. By 1919 her pieces were in such high demand that I. Magnin asked her to start selling to them. By 1921 her business had a workforce of 50 and she was on her way. In the early days her work was sold only under the department store labels and it was only word of mouth that the work was actually hers. By 1937 Life Magazine called her one of the most important American Designers. By 1940 she was in 92 shops across America and her dress cost up to $500 (just over $9000 in modern dollars). Her work was widely copied and she was particularly known for her 'little black dresses'. She designed until 1961. 

This is an incredible dress and it is gorgeous. It is made out of a black silk taffeta that holds the shape of the dress wonderfully. The skirt is very full and it is very flattering on the body. The volume that you see in the photos has been created by the way that the skirt is cut and set into the waist with beautiful wide pleats of fabric. There are tulle layers under the skirt but I did not add any extra crinolines. You could add more if you wanted an even fuller look. The bodice is fitted and the waist nips in. At the waist there is a large wide silk taffeta belt that cinches you in even more. Just the way the silk slides through the buckle is a detail in itself. The neckline is very unusual. The black part of it is draped across the neckline to sit off of the shoulder and leave your collarbones bare. This is then lined with a pretty sky blue silk taffeta. Inside the upper part of the dress, that straps that curve over each shoulder are done in that same sky blue silk. They are set so that they sit wide on the shoulders. The two fabric create a little gap between themselves. The closer you are to the person wearing it the more you see the blue.  It is just wonderful. I love when silk taffeta is used for these cocktail dresses from this era. It adds the weight needed to hold the shape and fullness but keeps them light and easy to wear. The dress is very pretty and romantic. Excellent condition with one tiny note below. 

Unlined and closes with a back painted metal zipper. There are two layers of tulle inside the skirt. The belt closes with a slip buckle. Hand finished interior seam as per the detail shot I have included here. There are tiny pin marks on one shoulder where the owner must have worn a pin. Please see the photo after the label shot. It otherwise looks to have been worn very little. 

Bust: to 17.5 " flat across from side seam to side seam
Waist: 12.25" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of bodice to waist
Skirt: 29" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3642

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

Paco Rabanne was a Spanish designer who became known as "l'enfant terrible (unruly child) of the 1960s French fashion world. He began making jewellery in unusual materials for many of the French couturiers and in 1964 at the age of 30 presented his first collection. In 1966 he had his breakout show: 'Twelve Unwearable Dresses in Contemporary Materials.' and it was with this show that he found his calling. He was quoted as saying 'sewing is a bondage,' and made his dresses out of paper, plastic and metal, which were pieced together with wire and glue. By 1968 some of the most famous women in the world were wearing his pieces and along with André Courrèges and Pierre Cardin, he helped to create the 1960s Space Age movement. Dating his pieces can be incredibly difficult but I did find a 1967 photo of Actress Noele Noblecourt wearing a dress that used strips of mirrors and a similar bead technique where they linked. Based on the information given to me by my client I believe that this dress was made in and around this time period. 

The dress is absolutely incredible. The main part of the dress is made up of mirrored triangles. These are hand linked together one by one to create the shape and form that you see. The work and hours that would have went into pre-planning thee shape and figuring out how to lay out the pieces, drilling each hole and linking them together, is mind boggling. As you look closer you realize that the dress is made out of grouping of the triangles and that there is a pattern within the pattern. Each of these shaped sections are made from six triangles that have been linked together. At the centre where they all meet there is a huge crystal tear drop that has been suspended from a metal loop. He then took one of the triangles within each these six triangle clusters and wrapped a length of clear faceted beads over it. The beads have been twisted and curved over the top of that single triangle so gives the dress an even greater 3D feel that is already has. You can see on the back of the triangles that that beadwork was added with silver wire that was hand wrapped around its triangle to secure it into place. The six triangle cluster were then all linked together to form the shape of the dress that you see. To create the shoulder straps he used a linked metal chain set with large glass rhinestones. Each one is prong set within its own casement and then these are linked together by wire. The rhinestone straps are set so that they lie across the top of the front bodice, curve over the shoulders and then lie across the back. The dress skims over the body and ends in an ultra short mini length that shows miles of legs. At the back it closes with Rabanne's signature metal clips that are set to organically down the back, hidden between the triangle clusters, so that there is no apparent line down the back to break the eye. The dress comes with a matching bag that is made out of the exact same technique and has a matching rhinestone chain as its strap. Both piece are very heavy. The dress and bag combined weigh just over ten pounds. The way that this dress catches the light and the soft sound it makes when you move is extraordinary. With your slightest movement the tears drop beads move and the mirrors reflect the light. Most examples from this time period are a monochromatic silver chainmail and it is unusual and rare to find such an ornate example like this, never mind one that still has its matching bag. It is incredible and easily one of the best pieces I have ever seen in all my years doing vintage. Early examples of Rabanne's work are held mainly in museums around the globe and really ornate pieces like this rarely come to market. It is exceptional and appears to have been worn very little if at all. Excellent condition

Slips on to wear with metal clamping hinge hooks at the back. The linked together pieces give it an almost bias cut feel as far as the way it sits on the body. It is in incredible condition and appears to have never been worn or worn very little. Completely assembled by hand

Dress
Bust: approx 15-16.5" flat across from side to side
Waist: approx to 15" flat across from side to side
Hip: approx 16-18" flat across from side to side
Length: 31" from shoulder to hem

Bag
6"H x 9"W and linked flat together, It expands out because of the links. The rhinestone strap adds another 6.5" to the height of the bag

Modern Sizing Equivalent: XXS-SML

Item# DD3630

Reference Photo: Noele Noblecourt in Paco Rabanne, February 1967.

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

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

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

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

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

Modern Sizing Equivalent: XXS-XS

Item# DD3629

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3602

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

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

I found two versions of this dress when researching it. One was a Haute Couture version in a gold brocade from the Fall 1997-1998 runway. The Couture version took the formed and shaped bust-line to an even greater degree then this ready to wear version that I have here. Then there was an all black version shown for the Fall 1998 ready-to-wear show and you can see it has the same silhouette as this dress does. If you then combine the two, taking that same RTW shape and making it on the fabric from the Couture show, you have this dress. Finding runway references for Mugler's work is not always easy as he would often change designs for production and produced many pieces that were not shown on the runway. It's an extraordinary find.

I love the sharp fitted cut of the dress and that shaped bodice is exactly the kind of lines that we expect when we think of his work. That shaped, curved and pointed bust-line felt scandalous when they were first shown on the runway and still feel that way years later. This is classic Mugler and very collectible as a result. The dress is made out of a gold brocade that is heavy enough so that it was able to be sculpted into that curving shape. It molds and accentuates your curves. The curves through the hips are there whether it is on or off the body and he plays and exaggerates the female form through them. All of the shape is created through seaming to help to give the dress structure, shape and support. The waist nips in and the hips curve out and away from the body. The skirt is cut above the knee and curves in at the hem to further exaggerate the shape. The bust is spectacular. It is seamed and molded like a bra cup and then has those extensions that wing up into points on both sides. The cups are inset at the front so the shape is pushed to the front as you can see in the reference photos. You only have to look at the runway photos included to know how amazing this one is going to be on. The colour in person is a much stronger metallic gold feeling and really is better in real life. The fabric is also surprising soft. It's really fabulous. Excellent condition.

Fully lined in a brown silky rayon and closes with a back zipper. Tagged a vintage Mugler 38. The cups will probably fit up to a B, maybe a small C. They are seamed and wired for shape.

Bust: 16.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 28" from top of bodice to hem and the paint extend about
2.5” above the top of the bodice

Modern Sizing Equivalent: XS-SML

Item# DD3567

Reference Photos: (1) Fall 1997-98 Thierry Mugler Haute Couture Runway.  /  (2) Fall 1998 Thierry Mugler Runway.

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

This dress was made for an exclusive collaboration with Luisaviaroma in 2018. The Attico brand was founded by street-style stars Gilda Ambrosio and Giorgia Tordini and the line has a vintage vibe to it that I love. It was a social media hit with an amazing array of women choosing to showcase it. 

The dress is brand new and unworn. It is made by applying thousands of tiny gold sequins flat onto a semi-transparent black fabric. The sequins are placed side by side and completely cover every inch of the dress. The fabric itself has a touch of transparency to it that adds to its light and sexy feel. It has an easy feel through the body that is flattering and comfortable to wear. It wraps and ties to one side of the inner side seam and then it snaps into place under the bow on the other side. The front plunges down into a low V at the neck and the bodice is cut on a on a flattering curve. It is set wide across the shoulders and the sleeves pouf out around the upper arm and then taper into the wrists. The ties and snap cinch it in at the waist and then it curves around the hips. It is cut very short and you can see just how short it in the various shots added. It is brand new and unworn. These sold out instantly when they were dropped. Excellent condition

Unlined and ties to close at the inner side and then the bow snaps into place. Tagged a size 44. Unworn and pristine. With the tie closure there is some play in the measurements below

Sleeves: 25.5"
Slightly inset shoulders: 15.5"
Bust: to 22" flat across from side seam to side seam
Waist: 18" flat across from side seam to side seam and adjustable more
Hips: to 22" flat across from side seam to side seam and adjustable more
Length: 32" from neck to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3566

Reference Photos from various Instagram accounts: @the_attico / @silvanovangi / @luisaviaroma / @jessicakahawaty / @martalozanop / @rosacrespo

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 dress comes directly from the original couture client and is in immaculate condition. It was ordered and made on the same time 1985 period as the crystal bow dress I am listing today. This is an exceptional example of Valentino's Haute Couture work that he 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. I am also pleased to have found a reference photo to fully document and date it on Christy Turlington from the November issue of Vogue 1986

This dress is divine. The lines of it are beautiful and as good as it looks on the dress form it is perfection on an actual body. Couture pieces are very difficult to truly show in a photo as they are meant to highlight and show off the body and only truly come to life when worn. The bodice of this dress is made from an inky black silk velvet. It is fitted and nipped in at the waist. One shoulder is left bare and the other is encased in a sheath of velvet. The sleeve is cut to the wrist and the shoulder is set to be high and capped with a pretty gathered seam set on an angle on both the front and the back. The shoulder pad underneath is hand formed so that it is rounded to flow and exaggerate the curve of the shoulder. The skirt is wonderful. It is set into the waist in a series of soft pleats that help to give it the fullness that you see. It is very full and cut with a nod to the skirts of the fifties. It is made from a gunmetal silk taffeta that has wide panels of velvet flocking fused to its surface. These wrap around the skirt in three bands starting just under the waist and ending just above the hem. The inner construction of the skirt is amazing. The outermost layer is backed in a silk organza and all of the seams are hand finished along their edges. Set inside the skirt is that startling emerald green silk taffeta underskirt that is built into the dress. It falls below the hips and then has a second ruffled piece nearer the hem for fullness. This is placed into the interior by hand and backed in silk. There is a wide strip of stiffened net running though the two inner hems. It is cut very full to give the skirt its shape and volume. Plus the unexpected flash of green when you move a certain way or sit is fantastic. It feels very tactile on to have all these skirt swirling around you as you move. It really is wonderful and an amazing example of his earlier Haute Couture work. Excellent condition. 

The bodice, skirt and underskirts are all lined and backed in silk. The sleeve is self backed. Done with Haute Couture construction techniques and it closes with a hidden set metal zipper at the side and then has silk covered snaps and a secondary zipper on the side of the skirt. I have photoed this for you. Inner waist stay hooks to close. Hand made padding on the shoulder and light boning at the side of the bodice around the zipper. A fine metal zipper to close the end of the sleeve. Built in underskirt with stiffened inset at the edges as described above. 

Sleeve: 22.5"
Bust: 17.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 15.5" from top of bodice to waist
Skirt: 31.5" from waist to hem with 4.5" turned under the hem

Modern Sizing Equivalent: SML-MED

Item# DD3553

Reference Photo: Christy Turlington in Valentino, Vogue, November 1986.

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 lines of this dress are pure Yves Saint Laurent for this time period. It is just extraordinary. For the skirt of the dress he has used a silver grey silk taffeta. This fabric choice gives it the volume that you see and helps to support the edging that circles the entire hem. For that he chose a black, sequin detailed lace. This same sequin and lace fabric was then used for the bodice. The dress is suspended from the shoulders by two thin silk ribbons. I love this detail because it gives you the option to tuck those in and wear this as a strapless piece if you wanted. The bodice is fitted and covered in a black silk lace netting over a silk organza. Black sequins have then been applied by hand to highlight the curving design underneath. This same fabric as been used all around the hem where it has been used in a single layer with no lining backing it. This gives you a touch of transparency that is very sexy. 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 and this transparency gives you a flash of skin behind the lace. The skirt is very full so that when you move you get a lot of volume and movement. A long silver silk sash wraps and ties to cinch in the waist. It also comes with its original matching wrap. This is very large and finished with a wide ruffle all the way around. This is a dress that is even better on an actual body and moves and feel fabulous once on. 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 a bit wear and fraying at their very tops. Please review the first two photos after the label shot. The matching wrap 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 of these 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: (1) F/W 1981 Yves Saint Laurent Runway Show.  /  (2) Model in Yves Saint Laurent F/W 1981 Rive Gauche Collection. Photo by Helmut Newton. From the book "Yves Saint Laurent: Icons of Fashion Design" by Schirmer/Mosel.  /  (3) Andie MacDowell for Yves Saint Laurent, photographed by Helmut Newton, 1981.

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 had moved to the US from Paris in 1937 and her designs always have that bit of a French feel to them. By 1949 she had been awarded a Coty and won one again in both 1951 and 1959. The 1959 win coincided with being inducted into the Coty Fashion Hall of Fame. She as a pioneer in the use of cottons and wool for evening, In 1961 she made headlines for being the first major fashion house to use amply an African American model.

This dress is incredible and I love the lines of it. It is made out of fine black wool that has a hand painted design that is worked over the fabric in a variety of metallic paint. There is a gold, a blue and a red. The designs are clusters of little circles bunched in the various circles. Over each burst of color are hand placed and sewn sequins in the matching metallic color. Each sequin is then secured by a matching colored round bead. The fabric is just incredible and the overall effect this creates reminds me of perhaps fireworks. The cut of the dress is equally fabulous. The front plunges in a V and the bodice is more fitted with a curving seam just under the bust. The fabric skims over the wait and then flares out into a very full skirt that falls to about ankle length depending on your height. There is a lot of fabric in the skirt and when you move the movement of it is wonderful. The sleeves are gathered around each shoulder so they have volume and then they narrow down as they reach the wrist. It is even better on an actual body and one of the best Trigere pieces I have seen. It looks like it has been worn very little if at all. Excellent condition

Fully lined in a fine black silk and closes at the back with a metal and nylon zipper. It looks like it has been worn very little if at all. Hand finishes

Sleeves: 21.5"
Shoulders: 16"
Bust: 17.5" flat across from side seam to side seam
Seam under bust: 16" flat across from side seam to side seam
Natural waist: to 16" flat across from side seam to side seam
Hips: open
Bodice: 12" from shoulder to seam under the bust
Skirt: 41.5" from seam under the bust to hem with 2.5" turned under

Modern Sizing Equivalent: SML-MED

Item# DD3535

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

Glossy black sequins that are extra large in size have been densely applied to a structured and fitted base to make this amazing strapless dress. The sequins cover the entire surface of the fabric of the bodice. The dress is strapless and the neckline is cut into a sweetheart shape and the interior is boned and molded. The waist is nipped in and the sequin part curves over the top of the hips for a long and shaped line. Under that is a wide panel of glossy black feathers that gives volume that and movement. This fullness at the bottom adds shape so that your waist and curves are emphasized. It is cut very short and is an amazing vintage find. Excellent condition.

The dress is fully lined with a silky black rayon and closes with a back painted metal zipper. Light boning through the bodice. The bust is shaped and would probably fit up to a C cup. Tagged a UK 12. The dress appears to have been worn very little if at all.

Bust: 16.5" flat across the back from side seam to side seam
Waist: 15" flat across the back from side seam to side seam
Hips: 19" flat across the back from side seam to side seam
Length: 28" from top of the bodice to the bottom of the feathered hem

Modern Sizing equivalent: SML-MED

Item# DD3517

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3516

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

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

When hunting for the date of this dress I found a strikingly similar dress from the runway that had additional shoulder detailing but is otherwise remarkably like this one. It gives you a great idea of how amazing this one will be once on an actual body. 

The fabric and color are fantastic. It is a metallic silk that blends a vivid coral with gold lame thread and if you love it the photos you will love it even more in real life. This fabric catches the light and intensifies the coral color. The fabric itself is quite light in weight so despite the elaborate construction of the dress is not heavy to wear. Inside the dress is quite structured for support which means that despite the lightness of the actual fabric the intended shape is held in place. The bodice is cut with a strapless, modified sweetheart neckline and hugs the body. It is elaborately gathered and fitted around the bust with hand placed and gathered folds. This was an Ungaro signature and really made his pieces flattering once on. On this one the gathers and shape run from the bust right down and over the hips so your shape is very emphasized. Under that the skirt is set with panels of fabric, each individual set on an angle to achieve that explosion of volume that you see. This technique also allows each piece to move freely so that whenever you move it does as well. A little box at the back is the perfect sweet detail. It is incredible. Excellent condition.

Fully lined in a coral silk and closes with a back zipper and the bow snaps into place over the top of that. The bodice is boned. Tagged a vintage Ungaro 6 It appears to have never been worn, or worn very little.

Bust: 16" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Length: 29" from top of bodice to hem

Modern Sizing Equivalent: XS-SML

Item# DD3417

Reference Photo: F/W 1988-89 Emanuel Ungaro Runway 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.

The Haute Couture tape hidden behind the label gives us the exact date on the amazing Emanuel Ungaro dress and jacket set. Ungaro recently passed away and that always makes you look at a designers work with a new appreciation. Ungaro launched his label in 1965 after stints at Balenciaga and Courrreges. He was a brilliant designer who was known for his of extravagant fabrics and flamboyance.

This two piece set is fantastic. The inner dress is signature Ungaro for this time period and is cut to hug every curve of your body once on. It is made out of a metallic silver velvet that has little bits of a silver lame thread worked through it. This is then hand gathered into soft pleats that run the full length of the dress. On the bodice they are set to curve and accentuate the bust with high peaks and a boned interior. The waist nips in and the skirt has more of these same gathers that add shape and emphasis to your curves. There is a thin strip of hand applied sequins that runs down each side of the dress. All applied by hand and incredible. Over this is an ivory silk jacket that has embroidery work, silk netting insets and applique work, in addition to the feathers that you see. The closer you get to that fabric the more astonishing it is. In the lace netting insets the netting is detailed with tiny rhinestones and pearls. These are all connected with the embroidery to give it a touch of a patchwork feel but in a very couture way. The shoulders are gathered and then the sleeves narrow as they reach the cuffs. The waist is shaped in so it almost has the curve of a dandy coat in feel. Then of course the feathers that wraps around the neck, down the front and around the hem, give it the most amazing finish. It is true numbered Haute Couture and remarkable. Excellent condition with a minor note below

The dress is hand lined in a ivory silk and closes with a hand set side zipper. Boning in the bodice of the dress and an interior waist stay that hooks to close.  The jacket has no closures and slips on wit padding in each shoulder. All made to Haute Couture standards and the dress has its Couture label and numbered /dated tape present. There is a slight bit of yellowing to the interior of the dress which of course does not show when on. Please see the last photo after the label shot

Dress
Bust: 16" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Bodice: 9" from top of bodice to waist
Skirt: 24" from waist to hem

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

Modern Sizing Equivalent: XS-SML

Item# DD3367

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

Reference Photo: Cherie, Owner of Shrimpton Couture.

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.

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.

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.

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, many more. His label gained international recognition known for his bright, clear color choices, ornate beading and daring cut-outs. He once stated; "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."

Here he takes the drama of s short mini dress with a flirty littel skirt. This dress is from his Couture label and made to demi-couture standards. The fabric choice is a printed silk taffeta that combines pink and purple. It holds the shape perfectly and helps to give the dress its structure and shape. The bodice is set in soft gathers that wrap around the bust, around the waist and over the top of the hips. I love how the gathers are used to highlight the waist and give it a more cinched in feel. The neckline is strapless and formed into an exaggerated sweetheart that plunges in the center. Inside there is a strapless bra added for extra support. The waist nips in beneath this and the gathers hug over the top of the hips. Below that the skirt flares out in soft folds and volume. The dress is stunning on. Excellent condition.

Fully lined in a pink silk and closes at the back with a painted metal and nylon zipper. The bodice is boned and there is a strapless bar set into the bust for support. Hand finishes throughout to demi-couture standards.

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# DD3307

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, many more. His label gained international recognition known for his bright, clear color choices, ornate beading and daring cut-outs. He once stated; "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."

Here he takes the drama of pink to new heights with this bold and sexy mini dress from his Boutique label. The fabric choice is a vivid pink silk taffeta that holds the shape perfectly and helps to give the dress its structure. It is set in soft horizontal gathers that run from top to bottom of the dress and are lightly caught up down the center front and with an actual seam at the back. The neckline is strapless and formed into an exaggerated sweetheart that plunges in the center. The waist nips in beneath this and then the skirt hugs the hips and ends in a mini length. At the back is a modified bustle created with three panels of the same fabric that are almost like large half bows set on top of each other. They are set onto the back starting just under the low back and have inner netting to help give them a bit of pouf and shape. The dress is stunning on and pure unadulterated drama. I love it. Excellent condition.

Fully lined in a pink silk and closes at the back with a painted metal and nylon zipper. The bodice is boned and the back bustle panels have in inner lining of netting for shape and snap into place over the zipper. Hand finishes.

Bust: to 17" flat across from side seam to side seam
Waist: to 12.5" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 27" from top peak of bodice to hem

Modern Sizing Equivalent: XS-SML

Item# DD3305

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 Adele Simpson dress is rather exceptional. It is made out of a pale pink cotton that in person is an even prettier shade of pink then how the camera captured it. It is sleeveless and the neckline is scooped at both the front and back of the dress. The waist nips in just below the bust line and then the skirt flares out from there and is very full. I have shows in styled over a light crinoline and you can just as easily wear it without one and get more movement, or even wear one that is more full then the one I used and get a real 'cupcake' effect. Over the dress is a piped and puffed pink cording made in the same fabric. This is all hand applied in the wonderful curving abstract design that you see covering the dress. This gives it lots of texture and detailing. It would work for day or evening. These earlier dresses are getting so hard to find and this one is quite exceptional and a wonderful example of her early work. Excellent condition

The bodice is lined with the same pink cotton and the rest of the dress is unlined. It closes with an inset side metal zipper. Hand finished throughout. Styled with a light crinoline underneath that is not included. Note that in person the pink is a more pastel baby pink

Bust: 19" flat across the back from side seam to side seam
Waist: 14" flat across the back from side seam to side seam
Hips: open
Length: 43" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD3301

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 sold to me as a Christian Dior but I have never been able to fully verify this with 100% accuracy. It's been priced for what it is and if it does turn out to be a verifiable Dior then you have gotten an amazing bargain. Regardless of its heritage it is an incredibly striking dress.

This dress is all bombshell. It has the feel of the Old Hollywood siren to it and one could easily imagine any of the big movie starlets of the day wearing this out as part of their glamorous lives. The fabric is a deep burnished gold lame that has a stitched effect running over it that gives it a quilted 3D feel but in a very abstract kind of way as opposed to any geometric pattern you would normally see with a quilting technique applied. It is very light in weight and feels like a wisp of air once on the body. It is cut for maximum attention. The top is set with two halter triangle tops that have that wide cut to them from this era. This lets the tops of each halter sit on the outer edges of the shoulders, emphasizing the cinched in waist. On an actual body you can cinch it in even tighter to create more of an hourglass shape. It plunges down to meet the wide sash that wraps and ties around you. The back plunges in the same fashion to leave a large expanse of your back bare. The partially attached ties that wrap around the waist are very long so you can really play with how you style them. Under that the skirt falls in a narrow pencil shape with a small vent at the back to allow for walking. It's gorgeous. Excellent condition

Fully lined in black silk and closes with a painted back zipper. Partially attached ties at the waist that very ling and wrap and tie. Pockets on each hip. Hand finishes

Bust: to 18" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: 15.5" from top of shoulder to waist
Skirt: 20" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# E669

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 1923, Jacques Heim took over the family business and started producing a line of couture that used original fabrics, most notably, those of Sonia Delauney. In 1930 the official Haute Couture 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 was sold to my client many years ago from the famed couture vintage seller Didier Ludot and was dated by him to that final year of Heim's presence at the label. I have included a photo provided to me by the owner.

I love the classic but still mod cut of this dress that reflects what was happening in fashion during this time period. It is cut to skim over your curves of the bodice and then the cut out under that sits higher up under the bust. The waist nips in and the skirt is cut so that it flares out as it reaches the hem. The base of the dress is a fine black velvet with a dense pile so it almost seems to absorb the light. This is in perfect contrast to the transparent panel set around the waist and that details each cuff. These panels are a fine black silk chiffon that is intricately hand detailed with glossy black bead work and those amazing and huge glossy acrylic pieces you see, It is simplicity mixed with a masterful seaming and extraordinary detailing. His pieces are very rare from this rime period and this is a real treat to have in the shop. Excellent condition with a note on the bead work below

Fully lined in a fine black silk and closes with a back painted metal zipper. Hand finished throughout. All of the bead work and those tremendous glossy, thin acrylic pieces are hand set. All but two of the large plastic cut outs have breaks. All are fully intact with no pieces missing but they have cracked over the years. It is for this fact that I have priced it lower but I would like to emphasize that it is perfectly wearable and there are no huge gaps or missing pieces. The cracks are so fine that when on everything sits really well still. I have included a couple of closer shots of the breaks after the label photo.

Sleeves: 21"
Shoulders: 15'
Bust: 17" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Bodice: 11.5" from shoulder to top seam of transparent band
Transparent band: 4.25"
Skirt: 17.25" from bottom seam of transparent band to hem

Modern Sizing Equivalent: SML-MED

Item# DD3269

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 pleased to begin presenting a collection of Bill Blass pieces from a woman who was a close personal friend of Mr. Blass for many years. Many of these pieces were custom made or tweaked specifically for her and all of them are in exquisite condition, having been stored and cared for properly over the years. These are rare and hard to find example of his work from the late 1970s and into the 1980s. Some may be the only version of its kind that were made. The family would also like it to be known that their portion of the proceeds from each sale will be donated to charity.

This is one of the best known of Bill's pieces during this time period. Lynn Wyatt was photoed wearing the jacket alongside of Bill himself and it was also featured in the book 'Bill Blass: An American Designer'. This version is even more special because my client's mother had the skirt made in that same gold brocade that the jacket is made out of. The lines of the suit are beautiful and I am glad to have found reference photos that give you an idea of just how great it is once on. The fabric is beautiful and the design covers every inch. It is a rich silk brocade on black and I love how you can see the threads within the gold and how these add to the texture of the pieces. The jacket is sleek with lightly padded shoulders and long sleeves. The waist curves in and the hips are cut on a rounded curve that is quite beautiful. I love the inverted pleat that opens out on either wide of the waist. This adds to the rounded curve around the hip. The skirt has a bit of that same rounding curve through the hip. The waist of the skirt is brought in by vertical seaming and then falls to about the knee in a simple and chic sheath. Everything about the cut and line of the suit is done to allow that gorgeous fabric to shine. Excellent condition

Both pieces are fully lined in silk. The skirt closes with a side set zipper. The jacket closes with hidden snaps at the front and hook & eye at the neck and waist. It looks to have been worn very little if at all

Jacket
Sleeves: 24"
Slightly inset shoulders: 15.5"
Bust: 20" flat across from side seam to side seam
Waist: 18" flat across from side seam to side seam
Hips: 21" flat across from side seam to side seam
Length: 29" from neck to hem

Skirt
Waist: 16" flat across from side seam to side seam
Hips: 21" flat across from side seam to side seam
Length: 23" from waist to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3259

Reference Photo: (1) Angela Shelton wearing gold, silk brocade dinner jacket by Bill Blass, Fall 1991. Photograph by Gideon Lewin. From the book 'Bill Blass: An American Designer'.  /  (2-3) Bill Blass & Lynn Wyatt, March 5th, 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.