This Roberto Cavalli dress is from a more recent collection and it is the kind of dress that you slip on when you want to make a statement. It is an easy-to-wear dress and very flattering once on the body. The stretch jersey fabric and chic leopard print are the perfect combination. The lines are simple and it has that perfectly easy but sexy feel. You literally just slip this over your head and done. Once it is on, it moves with you and highlights your curves. The dress has a high neckline and long sleeves. Each sleeve widens out as it near it's end. You are fully covered at the front but then when you turn there is a large open cut out at the back for an expanse of bare skin to show. It skims over your waist and hips and then falls to the floor in a column of jersey. On one side of the skirt there is a high scooped out slit that allows almost the full leg to show as you walk or move. It is one of the dresses that you just slip into and walk out feeling like a million bucks. The leopard print acts like a neutral in many ways and you can pair just about any colour with this to change up the look of it. It is an amazing print that works on almost any skin tone. Very sexy on. Excellent condition

Unlined slips on to wear with no closures. Tagged a Cavalli 38. The fabric has stretch and the measurements below are the comfortable range of that stretch when it's laying flat. It appears to have been worn very little if at all.

Sleeves: 28.5"
Shoulders: 15"
Bust: 15-20" flat across from side seam to side seam
Waist: 12-16" flat across from side seam to side seam
Hips: 16-20" flat across from side seam to side seam
Total length: 62" from top of shoulder to hem
Slit: 32" from hem up

Modern Sizing Equivalent: XS-MED

Item# DD4832

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

Ages ago we had a dress in the shop that was similar to this one in many ways and we have included the reference photo from that one that is of a Halston dress shot for Vogue in 1974. On the dress we had, the ruffles were set more towards the back of the neck and on this one they come all the way around, but I believe that this one is from about the same time period, if not the same collection.

Halston was a master at combining function and ease but without sacrificing glamour. His bias cut pieces, like this one, sometimes feel somewhat shapeless on the hanger or on a dress form and it is only when they are on a body that they drape and settle into place the way they were intended. They seem so very simple but they are not. The dress is entirely cut on the bias with that minimal seaming signature that he was famous for. The colour is a beautiful deep blood red that is flattering on most skin tones. It is feather light and it weighs ounces once it is on. it comes with its original slip under dress and I love that because it is like you are getting two dresses in one. The under dress is backed in its own layers of a nude silk chiffon and you could wear the dress on its own as a slip dress. Popping the outer dress over it gives you the full on look and then you could also wear the outer dress over a different coloured slip to get a different feel. It is one of those dresses that gives you lots of styling options. The cut through the body of the outer dress is extremely loose and easy. There is an elastic at the waist and it allows you to wear the dress longer with the elastic more to the top of the hips, or you can pull it up to shorten the length and make it more of a day piece. The neckline is ruffled and it has a silk chiffon pipe length running through it that ties at the front. This lets you wear it more wide and off of the shoulders or you can wear it more closed and around the neck. Each sleeve is soft and full and end with a ruffle finish. The skirt is full and open. The matching inner silk dress is cut on the bias and it slips over the head and is suspended from nude silk chiffon straps. If worn more down, the dress will land between full length and ankle length, depending on your height. If pulled up at the waist, the length pulls up more to land between knee and calf. It is gorgeous and so versatile. Excellent condition

The outer dress is a single layer of silk chiffon and the separate inner slip dress has two layers of bias cut nude silk chiffon under the top red layer. Both pieces slip over the head to wear. The outer dress ties at the neck and has elastic at the waist. Each cuff is finished with elastic above the ruffled ends. Hand finishes.

Outer dress
Sleeves: approx  29"
Shoulders: no defined seams
Bust: to 18-24" flat across from side seam to side seam
Waist: to 10-19" flat across from side seam to side seam
Hips: open
Bodice: to 17" from top of shoulder to waist
Total length: 57" from top of shoulder to hem

Inner slip dress
Bust: 13-17" flat across from side seam to side seam
Waist-hips: open
Total length: 57" from top of shoulder to hem

Modern Sizing Equivalent: XS-MED

Item# DD4831

Reference Photo: Model wearing Halston. Photo by Richard Avedon. Vogue US, December 1974.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

Bill Blass launched his label in 1970 when he bought out the Maurice Rentner label and then re-launched it under his own name. Blass was arguably one of the most famous of  the American designers. His forte was the ability to mix simple styles with luxurious materials and his evening wear in particular seemed to have a way of flattering the wearer. He knew how to walk that line perfectly. This is a very chic and sexy example of his work from this time period and it is even better in person. 

The dress is made out of a feather light silk chiffon that is bias cut and backed in a second layer of silk that has the same pretty print over its surface. This layering of the print creates a really pretty depth and added dimension to the dress. Both layers are cut on the bias and the layers float over each other perfectly to drape over the body. It is incredible. The dress is as light as a feather and feels like heaven once on the body. The dress curves over the shoulders and the neckline plunges down between the breasts with a pretty ruffle following the neckline. The back has the same V and ruffle treatment. It cleverly closes at the base of the V and you could probably wear this either way around. It skims over the bust and then from there the dress falls in an extravagant swoosh to the floor with an easy cut over the waist and hips. The bias cut lets it drape over the body underneath but at the same time it feels insanely comfortable on because the fabric weighs ounces. I have added a taupe grosgrain ribbon at the waist to cinch it in more but also shot it without so you could see that as well. It works either way. The skirt widens out as it nears the floor and there are extra long draping panels that extend past the hemline for the perfect and prettiest finish. Excellent condition. 

Made from a layer of silk chiffon topping an inner silk layer as described above. It closes with a hidden set zipper. The ribbon at the waist is not original to the dress but will be included. The bias cut has some give and the comfortable range of measurements are listed below. The dress appears to have been worn very little if at all.

Bust: 18-20" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Total length: 62" from the top of the shoulder to actual hem and then the panels extend up to 12" beyond that

Modern Sizing Equivalent: MED-LRG

Item# DD4823

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This is a spectacular and rare dress from the Fall 2004 McQueen show and its twin walked the runway that season. On the runway it was shown with a sash wrapped around the hips and you could easily replicate this if you wished. It is equally as good on its own. The runway pieces were not produced in significant numbers and were often only found at the flagship stores in very limited quantities. For this collection McQueen was quoted as saying that he wanted to 'strip away all theatrics and focus purely on design'. The colours in the show focused on a nude palette and these taupe pieces were a predominant element in the collection. He also kept the embellishments to the bare minimum throughout the collection and this dress showcases that nod towards simplicity. 

The dress is made from a very fine knit jersey that has a slight sheen to it. The seams are then either surged and top stitched, or have been covered and highlighted with a silk cording. This use of the seams as a way to create design details within the dress is a very McQueen feeling signature and it really highlights the cut of the piece. The neckline on the dress is a wide ribbed panel that has a lot of stretch available to it. You could wear it up and off the shoulders but it is best worn as shown on the runway, stretched and pulled down to leave the shoulders bare and exposed. The bodice is cut to skim over you and the sleeves are long. Each sleeve has some fullness above its 4" cuff. On the runway, they pulled the cuff up and inside so you just saw the part that blouses over and not the cuffs itself. A very clever styling trick. From there it continues past the hips to the floor. If you thought the way the seams have been detailed on the bodice is pretty, the skirt is magical. There are stacked side by side peaked panels whose tops sit at different heights around the entire skirt. Each has a touch of open cut work around their seams which gives the dress more depth and detail. This piecing of the side by side panels also allows the skirt to have more of a flare at its bottom. You can see how beautifully it moves in the runway video here. It is my understanding from my client that only a limited amount of these were produced. This is an iconic piece of McQueen's history. Excellent condition with a minor note below

Fully lined in an ivory stretch lingerie type fabric and slips over the head to wear. The knit jersey has stretch and the measurements below are the comfortable range when the dress is laying flat. I see a tiny area on the knit where it misses a stitch. Please see the photo after the label shot. Tagged a McQueen 38. Any change in colour you see is just the lighting. The stretch fabric should allow it to accommodate a variety of sizes.

Sleeves: 25"
Shoulders: variable
Bust: 17-21" flat across from side seam to side seam
Waist: 11.5-15" flat across from side seam to side seam
Hips: 17-22" flat across from side seam to side seam 
Total length: approx 60" from the top of the natural shoulder to hem

Modern Sizing Equivalent: XS-MED

Item# DD4816

Reference Photos/Video: Fall 2004 Alexander McQueen.

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This is a gorgeous dress by Pierre Cardin and I absolutely love it. These printed silk chiffon dresses that he did in the seventies are among my very favourites of his work. Even more so for me then the mod pieces he is often associated with. Pierre Cardin was actually a designer that had a huge range and could produce pieces with high level of glamour. This is a very pretty piece.

More than anything I love the sleeve detailing on this dress. They are spectacular. Each is a long rectangle of fabric that is offset in the way that it is set into the shoulder. This causes the points to drape differently on the front and back. They fall to just below the knee once on which makes them a little more manageable than the ones that you see that go all the way to the floor. They create a tremendous amount of movement when you move. The dress is made out of a pretty blue floral printed silk chiffon. The front neckline is cut wide across the neck and the shoulders are soft. It skims over the bodice to an elastic band that runs around the waist. This makes it very easy and comfortable to wear. You could also add a belt if you really wanted to add emphasis to the shape. The skirt falls to the floor from there and widens out as it hears the hem. A slit runs up the back so that you can easily move in it. It is gorgeous. Excellent overall condition with a note below.

The bodice and sleeves are unlined and the skirt is lined with a blue silky rayon. Elastic through the waist and there is a hook above a keyhole at the back of the neck. It is well-made and I think if you wanted to wear the other way around, you could potentially do that. There are a couple areas on the fabric where it has slightly yellowed. Near the waist on the front and underneath one arm. They are faint and you really have to look at it specifically and in certain lights to catch it. I am being pretty picky. It is hard to even see or notice it but it is mentioned for accuracy. Please see the photos after the label shot. Tagged a vintage 38

Inner sleeves: 45" to the longest point and open around the upper arm
Shoulders:  16"
Bust: 18-20" flat across from side seam to side seam
Elastic waist: 12-19" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Bodice: 16" from the top of the shoulder to waist and adjusts where it sits once on because of the elastic
Total length: 59" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4793

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This caftan dress is gorgeous. The cut is loose and easy and it is incredibly easy to wear. It is made out of what feels like a soft raw cotton that has a loose woven texture to it. I love how the raw feeling fabric becomes a part of the design element of the dress in itself. The neckline is cut wide across so it sits more towards the outside edges of your shoulder. It is cut loose and easy to the waist. The waist has elastic in it, so this is a dress you just slip on and go. Under the waist the skirt is made of three panels of the same fabric with two horizontal seams joining them together. The first seam sits just below the hips and then there is another just below the knee area. This adds both a little extra detail to the skirt and it also helps give it some fullness as it falls to the floor. The sleeves are spectacular. Each one is very full. They extend down from the shoulder where a little bit of gathering sits across the top of the shoulder, and then they extend out from the waist. They actually bell out a touch as they go so they are very wide by the time they get to the end of the sleeve. Each one is a full 34" around its hem. The floral appliqué that run down each sleeve is what really makes the dress special. These start near the inner seam of the sleeve and then are set around and over the sleeve to the other side. Each flower is cut out and top stitched around their edges with additional stitching to follow the pattern of the flower. This makes the edges curl up and off of the fabric. This is all purposeful to give it a bit with 3-D feel. That pop of bright pink is fantastic against the raw natural colour of the dress. It can easily be worn without a belt as I have photoed it for you but you could also cinch in the waist with a belt if you wanted to add more shape. Excellent condition.

Unlined and slips on to wear. Feels like 100% cotton. The easy cut should allow it to fit a range of sizes. 

Sleeves: approx 19"
Shoulders: no true defined seam
Bust: no true defined side seams
Elastic waist: 11-20" flat across from side seam to side seam
Hips: to 24"flat across from side seam to side seam
Bodice: 14" from neck to waist 
Total length: 60" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# DD4784

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

These lovely little hand embroidered cotton Mexican dresses are works of art in my opinion and this one is an amazing example. These were made by hand by local artisans for the tourist market. I think this one is one of the prettiest I have ever seen and I think I will be sad to see it go once it sells.

The base fabric is a more crisp white cotton that has been top stitched with little vertical seams that cover the entire dress. These add visual detail and also let the dress be shaped so that it opens up the way that it does. Running between those long vertical stitches are a hand embroidered floral design. That is what adds the bright pops of colour to the dress that you see. It is incredible. Each sleeve is cut so that it expands out as it reaches its end and they are quite full. Each is a full 36" around the end of the sleeve. At the end of the sleeve you also see that they have added horizontal top stitching to form a bit of a grid pattern for added detail. The same grid pattern is done around the hem of the dress as well and I love it. The body of the dress is loose and easy. It skims over the bust and then gradually widens out to be very full by the time it reaches the hem. Everything about this dress is beautiful and it is rare to find one in white that is still so crisp and clean. It is a beautiful dress. Excellent condition

Unlined and closes with a painted metal zipper at the back.  The easy cut should allow it to fit a range of sizes.

Slightly inset shoulders: 14"
Sleeves: 22"
Bust: to 19" flat across from side seam to side seam
Waist: to 21" flat across from side seam to side seam
Hips: open
Total length: 57" from top of shoulder to hem

Modern Sizing Equivalent: SML-LRG

Item# DD4786

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This dress was designed by Belgian-born Jules-Francois Crahay, who headed the Lanvin ateliers from 1964-1984. He has been noted as one of fashion’s 'great colorists with his colorful patterns making his 1970s Lanvin designs hugel​y ​desirable and influential.' His time at the Lanvin label is one of my personal favourites for the house. I especially love the his work during the period through the late sixties and into the early 1970s. He was a genius at print and colour and he pushed the envelope in terms of using cutting edge fabrics available during this time period. He mainly used this type of fabric for his 1971-1972 collections and in the book on his work 'Jules Francois Crahay" by Lannoo there is a detail photo of a couture fabric noted as been most likely from the fall 1971 Couture collection and you can see it has the same weave as this one. I love it.

This Lanvin dress is gorgeous. I am in absolute love with it. The dress has a gorgeous bright colour and print combination. The cotton pique it is made of is light in weight and holds colour exceptionally well so the colours are still crisp, bright and true. It has a beautiful texture running through it that adds visual interest and structure to the fabric so that it holds the intended shape. The front halter is created by two triangles that extend and curve up and behind the neck. They meet at the top of a wide band that defines the waist starting just under the bust. This leaves the back completely bare and open for a bit of a sexy feel to the dress. The band that gives the dress the shape is a full 5 1/2 inches wide. From there the skirt falls to the floor and it widens as it nears the hem. I love how the pattern is laid out onto the dress to emphasize the different parts of it. The halter has the smaller floral pattern and then the waist has stripes that are set just under the bust. You see the smaller floral anchored with stripes around the hips and then a giant floral pattern wraps around your legs. A double stripe anchors the whole dress at the hem and ties everything together. The colour is a coral red with those pops of yellow, green and soft orange. The pattern is spectacular and it is an instantly recognizable piece of his work. The perfect finish is the top set pockets that sit on each hip. I love it. Excellent condition

Fully lined through the band of the waist and the skirt in an orange silk and the halter top is unlined. It closes with a low set back zipper. 

Bust: each halter covers approx 7" flat across from side to side
Seam at the top of the band: 16" flat across from side seam to side seam
Waist seam at the bottom of the band: 13.75" flat across from side seam to side seam
Hips: to 10" flat across from side seam to side seam
Bodice: approx 13" from neck to top of the band at the waist
Total length: 59" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4756

Reference Photo: From the book "Jules Francois Crahay" by Lannoo.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

The resort 2018 collection ended up being the final collection that Carolina designed before handing over the reins to West Gordon, who made his debut with resort one year later. In their review of the collection Vogue noted that "Herrera said she looked to the gardens at her home in her native Venezuela for her flower motifs, and the exuberant colours she pulled from them for other pieces." This dress was part of Look one of the presentation and it ended up being one of the most documented pieces. And rightly so. It was one of the strongest pieces of the collection.  Brie Larson wore one on the Today Show, Grace Gummer wore hers to the Emmys awards HBO party, and we found a photo of mega influencer Helena Bourdon in one. It feels as fresh today as it did then and I love it.

On the runway and in two of the reference photos, it was one with the red belt that it was shown on but from my understanding the belt was sold separately. I love that I have. Do you have that one shot where it was warm without the belt, so you can see how perfectly it works either way. It would be so easy to add your own belt and you could also go beyond choosing to read and really add to the versatility of the dress. It is also important to note that this particular dress is an actual sample dress and has its original sample tag on it. I can't say that it is a piece that was warned by any of the people that we've included here, but there's certainly that possibility. It also has a price tag on the back of the hangtag of 2890 which is the price for it as a sample piece. My client told me that it was higher in the shops. The dress is made out of a feather light silk crêpe chiffon in a beautiful, soft blue. That pretty floral print inspired by her gardens, runs over the entire piece. The front flange is right to the waist for a startling contrast to the romantic feel of the dressed. A tiny ruffle runs over each shoulder and the sleeves slim down to touch as they reach their cuffs. A series of buttons and loops decorate the ends of each sleeve. The waist is seams and buttons to close underneath that down the front of the dress. A slit at the front runs up to meet those buttons and allows for a flash of bare leg when you move. The skirt is cut, soft and full as it nears the hem. This gives it both a romantic feel an incredible movement when you move. It is a spectacular piece from one of her final collections. I love it. Excellent condition.

Fully lined in a pale blue silk, chiffon and buttons down the front as seen. Decorative but functional button and loops on each cuff. Original hangtag and sample. Label attached.

Sleeves: 24"
Shoulders: approx 15"
Bust: 17" flat across from side seam to side seam
Waist: 12-13" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Bodice: 15" from top of shoulder to waist
Total length: 53" from top of shoulder to hem
Slit: 21.5 fromt he hem up

Modern Sizing Equivalent: XS-SML

Item# DD4749

Reference Photos: (1-2) Resort 2018 Carolina Herrera Lookbook.  /  (3) Brie Larson on 'The Today Show' 2017.  /  (4) Grace Gummer at the 70th  Emmy Awards’ HBO Party, September 17, 2018.  /  (5) Helena Bordon in Carolina Herrera.  

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

If you are a Hedi Slimane fan then you know that the Spring 2013 collection was his debut collection for Saint Laurent. Vogue said that he "hot-wired himself into the YSL legacy with Le Smoking, the mousselines, the pussy bows, the shot of animal spot, and that thing called Saharienne (which will always be Veruschka in Vogue. The tassels said Morocco—they also said Opium, à la Yves." It was a bevy of rock-chic couture and everything shown was about length of the body and a nod to the seventies. The twin of this dress was in the opening moments of the show for Look 4 and it was the first glimpse of his version of the YSL safari look. He took what is a house signature and elongated it in suede to fit his vision. It was one of his strongest pieces of the show.

I actually love this dress. I think it was a brilliant way to re-do an iconic look from YSL and make it his own. It also fully fits in with his love for long, lean length when it comes to his design aesthetic. The dress is made out of a soft supple suede in a classic deep neutral colour. It falls all the way to the floor and appears to be in its original uncut length. The collar is sharp and pointed and I love the straps on the top of each shoulder. He lightly padded the shoulders for a bit of added structure and the sleeves are long. Each sleeve ends in a corded lace up and I think this added detail works perfectly on this dress. You can see in the close-up shots from the runway that he wrapped these laces around the lower arm. At the front we see that same lace up cording run down to just past the waist. This is what makes the safari look so fantastic and add a touch of sexiness because you can see a bit of bare skin through the laces. On the front are four top set flap pockets that are another nod to this same detail on Yves' original design. It skims over the bust, waist and hips and then flares out quite a bit by the time it reaches the bottom hem. It comes with a matching suede belt for added shape and all of these elements add up to something that is both classic and fresh. It is one of my favourite dresses that he created from his time at YSL and this is a collectible future vintage piece. Excellent condition.

Unlined and closes with a side set zipper and then you can adjust the lower portion of the sleeves and the front with the laces that you see. The pockets snap to close and they are all functional. The belt is a simple suede wrap and tie belt. The suede has natural variations

Sleeves: 23.5" and 11" around the upper arm
Shoulders: 15"
Bust: 17" flat across from side seam to side seam and can be opened a bit more with the laces at the front
Waist: 15" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Bodice: 16" from neck to waist
Total length: 60" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4734

Reference Photos/Video: Spring 2013 Yves Saint Laurent, Look 4. Model Edie Campbell.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

The twin of this dress was Look 24 for the Resort 2020 presentation and I love having that reference photo for you to show how amazing it is on the body. The Luisa Beccaria label is out of Italy and is run by the mother-daughter team of Luisa and Lucilla Beccaria. They are known for their incredibly feminine pieces that have an almost story book feel to them. The cost of their pieces run into the thousands and their clothing is very well made. This season was a coup for the label as they were fresh from designing the wedding dress Lady Gabriella Windsor. And well deserved. The label's pieces always have a sense of romance to them. Vogue said of the collection that; 'Beccaria’s style is at its most resplendent when she’s designing for elegant soirées and receptions with a sense of occasion. Resort offered plenty of choices in embroidered lace, layered tulle, macramé, and wispy organza.'

This is everything you look for in a piece by the Beccaria label. It has a stunning floral design print screened onto a feather light silk chiffon. Think the finest silk scarf you could have in terms of weight and feel. The entire dress has been printed with that gorgeous and romantic flower design in pale shades of blue and I love it. The neckline is set in a higher collar around the neck with a long tie that you can let trail down the back as they did in the collection photos or wrap and tie it into a beautiful soft bow at the front like I did for most of these shots. The silk has been gathered into the collar for pretty detail on the bodice and this adds a pretty softness there. From the neckline it skims to the waist and it comes with a matching tie belt in the same fabric that has a cut out flower that matches the print on the belt. I love this extra little thought into the design and how this gives you the option of wearing it more cinched in through the waist. The skirt falls to the floor under that, and the silk is all biased cut and there is a ton of fabric in the skirt. It is so light and there is so much fabric that your slightest movement causes the skirt to float around you as you move. It is beautiful to see. It is also in its original uncut length so it is very long. The sleeves are fantastic. Each is an incredibly full balloon sleeve made out of a single layer of the silk chiffon. They pouf out dramatically above the cuff and each cuff ends in a split ruffle that is angled down longer on one side. The movement and drama the entire dress has is extraordinary. This is a dress that you slip on and feel completely comfortable when wearing it and yet it has as much drama and impact as you could ask for. It is a stunning and very romantic example of her work and beautifully made. I love it. It comes with its original hang tags and was never worn. Excellent condition

The outer dress is unlined and it comes with a matching ivory bias cut silk chiffon slip to wear underneath. It closes with hook and eye at the back of the neck and a hidden set side zipper. Elastic through the waist and at the end of each cuff. The original tie belt is included. The loose and easy cut should allow it to fit a variety of sizes. It will just drape more on a smaller frame and be more fitted on a larger frame. In its original uncut length, and appears to have never been worn. Tagged a modern 46 and has its original hangtags.

Outer Dress
Sleeves: approx 29" but meant to come up once on and 18" around the upper arm
Shoulders: no true defined seam
Bust: to 20" flat across from side seam to side seam
Waist: 14-16.5" flat across from side seam to side seam
Hips: open
Bodice: 15" from neck to waist 
Total length: 67" from top of shoulder to hem

Inner Separate Slip
Bust: 17-20" flat across from side seam to side seam
Waist: 16-20" flat across from side seam to side seam
Hips: 20-24" flat across from side seam to side seam
Length: 67" from waist to hem

Modern Sizing Equivalent: MED-LRG

Item# DD4590

Reference Photo: Resort 2020 Luisa Beccaria, Look 24.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This is one of two identical coats landing in the shop today. The only difference its that one is a medium (this one) and the other is a small. This is from the time period that Youssef Rizkallah headed the company. Youssef joined the Malcolm Starr label in 1969 and remained as the head designer until 1975. The years that Youssef headed the line are among some of my favorites and in particular his pieces that utilize quilting and patchwork, like these coats,  are truly iconic. Rizkallah was born in Egypt and studied at the Ecole de dessin appliqué and the Ecole des arts decoratifs in Paris. His designs seem to combine that sense of couture lines that he gained in Paris with the colour and vividness of his homeland. 

This is a wonderful piece that can be worn as either a coat or as a dress thanks to the zip front that completely opens. We were able to date it based on the very similar piece that was featured in the ad campaign for 1970. Which makes it a very early piece for his time at the label. The base of the coat is a red fabric that feels like a light wool that has a slight ribbed texture to it. The entire coat is detailed with a combination of a deep blue braiding and blue ric rac that follows the detailing and lines of the coat to emphasize the pattern and cut. Elaborate designs run around the hem and panels in the palest possible blue follow the lines of the coat. A floral patchwork is set around the hem and edged by the rib rack to create that fantastic design that you see. This anchors all the various parts of the design and gives a pop of contrast to the colour combination. The coat is collarless and it zips up the front. The shoulders are soft and the sleeves widen out to be full at their hem. The coat falls from the shoulders and widens out as it nears the hem. I took a shot of it laying flat so you can see the incredible shape that it has. It is quite full by the time it reaches the hem. Because it zips to close at the front and fully opens, you can wear this as a proper coat or you can wear it on its own as a dress, which lets it play double duty. It even has weights in the hem so that once on it falls perfectly in place and pockets that are hidden along those front seams. I just love that spectacular design through the body of the coat. It is so dramatic and like wearing art. I love it. Excellent overall condition with notes below

Fully lined in a hand set pale blue silk and closes down the front with an unpainted silver zipper. I see some faint yellowing, grubbiness to the bottom pale blue panel and maybe a touch of the same on the blue on the cuffs but I am being pretty picky there especially. Grubbiness to the inner lining around the hem and neck. Tagged a vintage Medium. 

Sleeves: 24"
Inner shoulders: 14"
Bust: 19" flat across from side seam to side seam
Waist: 21" flat across from side seam to side seam
Hips: 26" flat across from side seam to side seam
Length: 58" from neck to hem

Modern Sizing Equivalent: XS-MED

 Item# DD4481

Reference Photo: "The Malcolm Starr All Starrs" Ad, 1970.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This dress is just exceptional. Its twin walked the runway that season and we found the barest second of it on the runway as the model walked back down the catwalk. We have included that little bit of film along with a couple of stills taken from the clip for you to see. They are not the best photos ever but we were still very happy to have confirmation that the twin of this one was indeed a runway piece. We also included an editorial shot from Marie Claire that season that shows a different piece from the show in the same fabric. This fabric in a variety of different colour ways was integral to the show and there was a an entire section of the show devoted to them. The dress is gorgeous and its so very rare to find these more exceptional YSL pieces anymore.

The dress is made from a feather light cotton voile that that has enough weight and structure to it to perfectly fall into the line that Yves desired it to have. The fabric has just a touch of transparency to it but at the same time the print and the way it wraps around you covers everything and perfectly the transparency feels like more of a suggestion of sensuality. I love the bold use of all those brilliant colors that covers the entire dress. The print is a stunning abstract and it is just a piece of art in itself. There is a soft strap that curves over one shoulder on an angle from the other side. Inside the bust there is a soft bodice piece built in that has a bit of boning for shape. This zips and hooks into place to hold the dress in place on you. The outer where is gathered in under the strap and then it falls over you to the floor. Part of the fabric at the waist wraps around and snaps in the place and this gives just a suggestion of shape there. The shape is soft as it falls over you and meant to have a bit if a sarong feel. It is cut to skim over the body loose and easy with the only fitted place being that inner built in bodice. The skirt wraps over itself and part of it is longer then the other. This does two things. First, when you walk or sit that opening will open a bit to show some leg and second it allows the skirt to the air and billow around you when you walk. I love that way it drapes around you at the top. It is fantastic on the body and really showcases his genius at both print and cut. It appears to have been worn very little if at all. Excellent condition

Unlined and closes in the inner bodice with a zipper and flat hook and I as described above. The waist snaps and hooks in place.  Light boning in the inner bodice. Tagged a vintage YSL 40.

Bust: to 17" flat across from side seam to side seam
Inner hooked waist: 13" flat across from side seam to side seam
Hips: variable because of the wrap
Bodice: approx 15" from top of shoulder to inner hooked waist
Length: approx 50" from top of shoulder to shortest part of from hem and approx 67" to the longest point of the back hem

Modern Sizing Equivalent: SML-MED

Item# DD4411

Reference Photos/Video: (1-4) Spring 1991 Yves Saint Laurent Runway.  /  (5) Yves Saint Laurent Editorial, Marie Claire, June 1991

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

Bill Gibb was one of the most influential designers in 1970s Britain and his clothes were worn by the rich, the famous and the beautiful. Much of his work verged on couture and he was unrelenting in striving for perfection. His work has a high fantasy element to it. Every piece I bring into the shop is very special and the range he had was incredible. I recently had a deep brown version of this dress in the shop only a couple of weeks ago and I'm very pleased to have another one so soon. This dress is also a little extra special because its twin in ivory was part of the 'Great Names in Fashion' exhibit at the Fashion Museum Bath.

The body of the dress is made of a fluid black jersey fabric that is light in weight and drapes amazingly on the body. It cascades and flows to the floor from the densely beaded panel that sits across the upper bust. A second matching panel is also set at the back. Both panels have been completely hand covered with a design that is made out of hundreds of ivory and gold glass tube beads. Along the one side of the front panel there is a row of hand carved mother or pearl buttons that runs from the top of the shoulder to just past the waist. The buttons are functional and hold a decorative overlay in place that tops the inner dress. This overlay loops under the opposite arm and wraps around you to the back where it attaches to the panel there. The overly adds this incredible draped Grecian feel to the dress and it also gives it added movement when you move. The dress underneath is a long sheath that falls from the shoulders and widens out slightly as it nears the hem. The sleeves are long and each one ends with more of the MOP buttons. The entire dress is detailed with these strips of tiny little raised beads on a silver strip. These follow all of the edges of the dress and he even use them for all of the long interior seams of the inner dress even though you don't easily see them. I just love that he did that and it just shows you the attention that was paid to dresses during this time period as opposed to modern pieces where they probably wouldn't have bothered to put extra detailing where no one would ever see it. The strips add a touch of weight and help the dress to fall perfectly around you and they also catch the light for added glamour. During this time period these jerseys would have been cutting edge fabrics and an unusual choice for a designer to use and considered very avant garde. It is stunning and a beautiful example of Bill Gibb's work and its never a bad thing when it is a proven museum worthy piece. Excellent condition with a tiny note below

The dress is unlined and slips over the head top wear. The attached panel buttons into place over the interior dress. Each cuff has loop and buttons to close. It appears have been worn very little if at all. The loose and easy cut should allow it to fit a range of sizes. I have given the comfortable range of measurements while laying flat. On a smaller frame it will just drape more. The striped applique at the top of one shoulder has a couple of beads missing on one part. Please see the photo after the label shot

Sleeves: 21.5"
Slightly dropped shoulders: 15"
Bust: 15-18.5" flat across from side seam to side seam
Waist: 14-19" flat across from side seam to side seam
Hips: 16-22" flat across from side seam to side seam
Length: 58" from top of shoulder to hem

Modern Sizing Equivalent: XS-MED

Item# DD4232

Reference Photos: Bill Gibb Dress on display at the "Great Names of Fashion Display" Exhibit at Fashion Museum Bath.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

The twin of this dress walked the runway as Look 38 for the 2018 resort season. The show was held in the remote Upper Las Virgenes Canyon Open Space Preserve in Calabasas, California. The show was star packed with Rihanna, Charlize Theron and Solange Knowles there alongside the fashion pack. The inspiration for the show came from the archives and Chiuri said 'she went to the archives, where she came across the house founder’s Lascaux collection of 1951, inspired by the ancient cave paintings discovered in southwestern France a decade earlier.' This dress to me also harkened back to  the earlier Galliano era and the times that he did knits in a similar colurway. It was a favorite of the street style crowd and it is a gorgeous little creation. I believe that I read at the time these were all hand knit.

The dress is easy to wear and makes a huge visual impact that I love. It is made of a knit virgin wool that is light and feels fantastic once on the body. I love the horizontal stripes of colour that were meant to depict desert sunsets. The weave is loose and open so that you will see either your bare skin underneath or whatever you decide to wear underneath it. It is cut to skim over the body. The neckline is a wide boat neck and then it travels down over the bust, waist and hips, opening up to be quite flared as it reaches the hem. You can see in the reference video that this flare allows the dress to kick out around you when you move. The sleeves are cut to just above the elbow and they are finished with hand knotted yarn tassels in black. These circle the cuffs for pretty detail. These same hand-tied tassels are also set all the way around the hem for added movement there as well. It is just gorgeous. It appears to have been worn very little if at all. Excellent condition

Unlined and slips over the head to wear with no closures. It looks to have been worn very little if at all. Tagged a US4, GB8, FR36, IT40. The knit has considerable stretch. I have put the comfortable range of measurements lying flat and there may be a little bit of room beyond that once on the actual body

Sleeves: approx 15" and are 7-13" around the upper arm and is 12-14" around the cuff above the 2" fringes
Shoulders: no defined seam
Bust: 13-17.5" flat across from side seam to side seam
Waist: 14-18" flat across from side seam to side seam
Hips: 17-25" flat across from side seam to side seam
Length: 54" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# DD4218

Reference Photos/Video: (1-3) Resort 2018 Christian Dior Look 38, Model Zuzu Tadeushuk.  /  (4-7) Sofie Valkiers in Dior at Paris Fashion Week 2017.  /  (8) credit unknown.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This dress would have been designed while Youssef Rizkallah headed the company. Youseef joined the Malcolm Starr label in 1969 and remained as the head designer until 1975. The years that Youssef headed the line are among some of my favorites and in particular his pieces that utilize quilting and felt patchwork are truly iconic. Rizkallah was born in Egypt and studied at the Ecole de dessin appliqué and the Ecole des arts decoratifs in Paris. His designs seem to combine that sense of couture lines that he gained in Paris with the color and vividness of his homeland. These felt applique pieces are among my favorites of his. This piece is a little extra special as it is a piece that was deaccessioned from FIT museum. It's archive numbered tag from there is found on inner lining of the skirt.

I love these Malcolm Starr pieces - they really are works of art and the best of the sixties/seventies arts and crafts movement. The fabrics for this one combine a cotton for the bodice and a wool for the skirt. The cotton used for the top still has a crisp finish to it. The sleeves are a single layer of the cotton and then the rest of it is a padded quilted cotton that has top stitching and what feels like a touch of padding inside. The skirt has a slight felted finish to it and then onto that are those fantastic felt appliqués. These are both fabrics that hold shape and color beautifully. The bodice is cut to skim over you with a high collar and matching fabric covered buttons that run down the front. It tucks and is attached into the skirt. One interesting thing to note is that is that it is just tacked along the inside waist. What I love about this is that in theory you could actually separate these two so that instead of a one piece you have a separate top and skirt. It would be extremely easy to do and it would make both pieces far more wearable because you could then mix and match them. In fact after seeing this dress I suspect that many of these felted appliqué skirts that you see by him out there for sale once did have an attached top.The  waist line is defined with a band with a piped velvet band that circles around and ends in a bow at the front. The skirt has pockets hidden along each seam. I love the appliqué work that runs all the way around the dress. It looks to depict a woman and two boys holding balloons and then this pattern is repeated all the way around. The figures and balloons are all made from appliqued felt that has been applied by hand to the skirt. I love the red band at the bottom that finishes off the skirt. It is the perfect pop of colour to highlight everything else and anchors the piece. It's gorgeous and these felted pieces are among the most desirable of all of the Malcolm Starr pieces out there. Excellent condition with a small note below

Both pieces are fully lined except for the sleeves. Each piece has its own back set zipper to close and the cuffs have hidden set zippers. The piped belt snap and hooks into place around the waist. Pockets along the seams at the front. The buttons at the front are technically functional but the opening has been tacked closed as it's only meant to be decorative. I see grubbiness at the hem along the fold line and the occasional teeny darkening to some of the belt pieces. The pull tab of the zipper pull is missing off the skirt.

Sleeves: 24"
Shoulders: 14"
Bust: 17" 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: 16" from top of bodice to waist
Skirt: 44" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD4169

Reference Photo: Lauren Hutton in Malcolm Starr, Vogue 1970.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.