I have had the twin of this dress in the shop a couple of times now and it is one of my favourites. It is also a very well documented dress and our research turned up two different ads that it appeared in for Vogue. It also made an appearance in one of Vogue's party round up editorials. The ads were from the September issues of both 1980 and 1981 and this one with its more solid designed gold belt is the 1981 version. Countless celebrities own and have worn this dress. Lady Gaga wore a version, as have girls like Rachel Zoe & Nicole Richie and every girl that has bought one through me has loved it. It is one of those fail safe pieces that you know is going to work every time you put it on. 

The dress is insanely sexy and bare feeling with a halter style front that plunges right to the waist. It ties behind the neck and then the back is left completely open and bare. The dress is made of a wash and wear black liquid nylon jersey. It is so light and slinky and it feels amazing on the body. The fabric is almost weightless. Despite its bareness it is cleverly cut so that when you have it on it stays in place. At the front of the skirt there is a high slit that shows lots of leg when you walk or sit. I love the signature wide top stitched gold fabric belt at the waist. The belt is attached all the way around the back and then ties at the front to cinch you in exactly to where you want. The belt is really what gives it that signature Bill Tice look and this one has the little harder to find more rounded and detailed ends to the ties. The dress has the added bonus of traveling very well. It is the kind of piece that you can throw into your suit case and slip on with either flats or heels when you reach your destination and be instantly ready to go. It packs down to almost nothing and barely wrinkles. Excellent condition.

Unlined and slips on. Ties at the back of the neck and at the waist. Elastic through the front portion of the waist. The easy fit allows it work on a variety of sizes. The gold is a true bright gold in person

Bust: variable as there are no side seams
Partial elastic waist: 13-18" flat across from side seam to side seam
Hips: open
Bodice: approx 16" from natural neck to waist but can be tied to adjust the length if needed
Skirt: 40" from top of back waist to hem
Front slit: 20" from the hem up

Modern Sizing Equivalent: SML-LRG

Item# DD4320

Reference Photos: (1) Bill Tice for Swirl Ad. Vogue US, September 1980. / (2) Bill Tice Ad. Vogue US, September 1981.  /  (3) Nancy Kissinger in Bill Tice, Vogue, October 1980.

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

This dress is brand new with tags and was the production piece sold for Fall 2021 at Net-A-Porter. This collection was the one prior to Pieter Mulier's first for the house and the Alaia team did a special Editions collections based on the houses' vast archives. Vogue noted that Caroline Fabre Bazin, the Heritage and Editions director, and Alaïa CEO Myriam Serrano decided to focus on pieces they saw as being “important for the house, important in the history of fashion, that also speak of technique and timelessness.” Every runway piece was dated and had its backstory. Those pieces were then translated for the fall ready-to-wear line of which this dress is from. I have included the reference photos from the show where you can how this dress came about. I love this all black version and it is in perfect condition with all its tags.

This stunning Alaia piece is a testament how much Alaia's team loved him and were able to perfectly execute a collection without him because they were all on the same page and shared his vision so perfectly. A rare achievement post the founders passing it seems. Instead of trying to go off the rails in direction they just gave him a beautiful homage to what he did best. This is a dress that is meant to show off your curves. The top is made out of a butter soft black leather that is shaped and seamed to cup the breasts at the front. Wide straps curve over the shoulders to become part of that front molded cup. It dips into a low V and the entire bust area is shaped for support. A wide leather strap extends out horizontally under that and then there is another one wrapped around the waist. These are separated and open between the straps and bodice as it wraps around you so that you get a glimpse of skin between them. These wrap around to the back where they create a caged effect over the shoulder straps that have continued from the shoulder all the way down to meet the waist. Everywhere else at the back has been left bare and open. Attached to that is a long narrow skirt that falls to the floor. The skirt is made out of one of inky black hammered silk. It has structure and a touch of weight to it so that it shapes and holds the body underneath. It is cut in one long lean line that narrows in slightly as it reaches the hem. This creates the most flattering line on you possible. A high slit at one side allows you to walk and shows a flash of leg when you move or sit. It is very sexy, very chic and very Alaia. It has all of its original tags and has never been worn. Excellent condition.

The skirt is lined in a satin finish black silk and the inner part of the bodice is the same ultra soft leather as the exterior. It closes with a hidden set low zipper and the straps buckle to close above that. Tagged a modern 34 with all original shop and hang tags still attached.

Bust: 14-15.5" flat across from side seam to side seam with A to small B cup
Waist: 11-12" flat across from side seam to side seam
Hips: 17.5" flat across from side seam to side seam
Bodice: 14" from top of bodice to waist
Skirt: 47.5" from waist to hem and the slit is 31.5" from hem up

Modern Sizing Equivalent: XXS-XS

Item# DD4321

Reference Photos: (1-3) Fall 2021 Alaia Presentation. Looks 5, 12 & 27.  /  (4) Net-a-porter image.

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

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

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

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

Modern Sizing Equivalent: XS-SML

Item# DD4322

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

Dan Werle launched his label just after the end of World War II and by the 1950s he was dressing Hollywood starlets on a regular basis. He designmany of the looks worn by Loretta Young for her TV show 'The Loretta Young Show' that ran from 1953 to 1961. She often launched her show wearing one of his designs and it was that publicity that made his label thrive. His work tended to stay on the more simple side but they were still striking. You get the feeling that he made pieces for women to be able to wear over and over without tiring of them or made things that were to outlandish.

I absolutely love the cut of this dress. It is made out of a brilliant blue silk and the colour is breathtaking. The choice of this silk gives it just enough structure to hold the shape but still keeps the dress light and comfortable to wear. That fabric choice mixed with the soft billowing cut that it has gives it feeling of high drama. The bodice is cut to skim over the torso and the neckline is extraordinary. The dress is meant to be worn off the shoulder for a bare expanse of skin to show across the top of the shoulders. The line there is set on a curve so that it dips down at the front and back into a V. This is then edged with a little matching silk ruffle all the way around the top for the prettiest detail.  The sleeves are unlined and are cut to be extremely full and wide so that they billow out to just past the elbow and above the elastic at each cuff. The bodice is cut to skim over you and the waist nips in. The dress comes with a matching long wide sash that you can use to cinch the waist in even more. The skirt is very long and full. It flows to the floor in a cascade of silk. I have shown it without any underskirts but you could easily add a crinoline if you wanted even more fullness. Pockets on each hip. The dress has a fantastic romantic feel but is still sexy and beautiful. Excellent condition.

The bodice is lined in a matching silk, the sleeves are unlined and the skirt is lined in a pale blue organza. It closes with a back painted metal zipper. Each cuff has elastic. Has its original matching sash belt. Hand finishes.

Sleeves: 19"
Bust: 17.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips at inner lining: open
Bodice: approx 16" from shoulder to waist
Skirt: 44" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4319

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

Bill Blass launched his label in 1970 when he bought out the Maurice Rentner label and 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 gorgeous example of his work from this time period. You really start to see the direction he was into for the 1980s in this one. It has the added provenance of being the twin of the runway piece and I have included that reference photo here. We found the runway photo after I shot the photos of dress and you can see that I tied the attached tie around the waist while on the runway he let it trail back and behind the model. I love that it can be worn either way.

The dress is made out of the most extraordinary fabric. It is a brilliant blue silk velvet that has an abstract print worked into the velvet. The pattern is created by having the pile of the velvet go the opposite way where the print is so the different parts of the print catch the light differently. It's extraordinary colour is just unbelievable. It almost seems to glow and it is really striking to see in person. The dress falls in one smooth line from the shoulders. The shoulders have light shaping and the sleeves slightly get along the tops for the tiniest bit of a capped feel. Each deep is set wide where it is set into the bodice and then narrows down at the rest. There's a hidden side zipper and it slightly gathered there for a little extra detail. The dress falls to the floor in one long lean line down the front. If you choose to tie the attached ties towards the back only then it has the feel of a sheath or column dress. By wrapping around the front as I have done in these photos you can add some extra shape. Back there's a button at the top of the neck and then there's an open diamond shaped cut out that leaves most of your back bare. Set along the back sides where that opening is the widest are two attach ties. These sit on a slight angle so that when you have them tied at the back they follow the angle of the opening instead of obstructing it. On the runway he tied these casually looped and hanging long behind or you can wrap then like I did. The cut is pure Blass for this time period and its gorgeous. Very chic. Excellent condition

The dress is partially lined in a blue silk through the upper part and there is a hand set wide ribbon inside the bottom hem to help it to hang properly. It closes at the back with a hidden set low zipper and a button at the top of the neck. Each sleeve has a hidden side zipper at the wrist. It looks to have been worn very little if at all

Sleeves: 26"
Shoulders: 15.5"
Bust:to 20 " flat across from side seam to side seam
Waist: to 14.5" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 59" from top of shoulder to hem

Modern Sizing Equivalent: MED-LRG

Item# DD4317

Reference Photos: (1-3) Fall 1986 Bill Blass Runway.  /  (4) Fall 1986 Bill Blass Dress in the Kent State University Museum.

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD4316

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

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

This fabulous little jumpsuit has had the part of the label that tells the collection date removed at some point in its history but I believe it is from the late 1990s based on the styles and similarities to other dresses I have previously had in the shop from that period. Regardless of its exact date it is definitely Karl's work and it is a gorgeous example of his work. It is a very easy to wear piece and I love how unusual it is while still being utterly Chanel in feel.

I love that this little jumpsuit looks like a dress at first glance. It is just the cleverest thing and it has the added bonus of making it super easy to wear. It has that touch of a flapper feel to it that so many of his pieces have and it is just so pretty. The jumpsuit part is made out of a light in weight black silk that is soft and easy to the touch. It has that feel of the best of 1930s silk. Over that the skirt overlay is a black silk chiffon that has camellias and ribbon appliqued onto it for added detail. This mixing of fabrics give is a play on the different transparencies. It is light in weight and wonderfully easy to wear. Despite its light weight the fabric still has enough structure to hold the cut and give it the wonderful shape that you see. The top of the jumpsuit is sleeveless and cut to skim over you all the way down to the low dropped seam at the top of the hip. The neckline plunges into a V at the front and there is a row of silk covered decorative domed buttons underneath that. Where the bodice meets the skirt there is a wide gathered 4" band made from the same silk as the top. This band is pleated and I love the detail it adds. Under the skirt are attached legs that continue down from the top. These are done in a peg leg shape and they narrow down as they reach their hem. On the outside of each leg there is another row of tightly spaced buttons that match the ones on the bodice. Depending on your height they will probably be a bit of a cropped pant. The skirt falls over that from under the banding and it is made up of a silk chiffon that is softly gathered in around the waist. Onto the skirt are embroidered and silk cut out of the famous Chanel camellia and then it is finished all around the hem with ribbon. The lightness of the silk allows it to flare out and the movement that this creates once it is on is incredible. The construction is immaculate and it looks to have been worn very little if at all. It is gorgeous. Excellent condition

Unlined and closes with a back hidden set zipper. The cut is meant to be loose and easy through the body. The band around the waist buttons to close. The buttons on the top are decorative and the ones on the pants are functional. The easy cut should fit a range of sizes.

Bust: to 17" flat across from side seam to side seam
Natural waist: to 15" flat across from side seam to side seam
Seam at bottom of bodice: 18" flat across from side seam to side seam
Inner pant hips: to 22" flat across from side seam to side seam
Bodice: 21" from top of shoulder to seam at bottom of bodice
Skirt: 30" from seam at bottom of bodice to hem
Pants: 32" from seam at bottom of bodice to hem
Inseam: 27"
Gusset: 29" from top of shoulder to inner back seam

Modern Sizing Equivalent: XS-MED

Item# DD4315

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

The twin of this dress walk the runway in 2003 as look 43 of the show. For this show Ford dipped into the archives and looked at Saint Laurent's early years. The show centered around three colours, a pale lavender, champagne and coffee. This was one of the closing looks at the show and I think it was best of the final four looks. It is a look that is extremely flattering to the ware with all of its gathers that fall softly over the body will hiding all flaws. Tom was only at YSL from 1999 while designing for Gucci at the same time, until 2004 when he left to open his own label. This makes this a dress from one of a small number of collections where he was at the helm of this label.

This dress was sold in two lengths, a shorter version and then this longer one true to the runway. The longer ones were a more limited production. The dress is stunning. And not only is it stunning but it's a very tactile feeling dress once on the body. It is made from that ultra soft thin slinky jersey that he favoured during this time period. This makes the dress feel almost weightless once on the body. The colour is that deep coffee colour that was one of the three talking points of the collection. It is set to drape and skim over the body in these fantastic panels from shoulder to hem. Anchoring these are panels of a black silk satin ribbon that run vertically down the lower part of the dress and are used to highlight and define the cut of the upper part. The dress falls from straps that curve over the shoulders and the inner bodice are two triangle that plunge low for a bare expanse of skin. The waist is anchored with more of the black ribbon. This is where the design gets interesting. He has put a second layer over the bodice that hooks into place at the side. The second layer is cut to be more blousy and adds to the draped feel the dress has. At the back the inner bodice cuts more straight across and then the overlay dips to the waist. Everything is cut on the bias so the dress has incredible drape in movement. When this is on and you move the whole dress reacts. It's really a fantastic piece. Excellent condition.

Unlined and closes with a side zipper. The overlay hooks to close at the side. There is no size tag on this one and the dress does have some stretch. I have put the comfortable range of measurements of it laying flat. On a smaller frame it will drape more

Waist: 14" flat across from side seam to side seam
Hips: up to 21" flat across from side seam to side seam
Bodice: 15" from top of shoulder to waist
Skirt: 46" from waist to longest point of hem

Modern Sizing Equivalent: XS-MED

Item# DD4300

Reference Photos/Video: Spring 2003 Yves Saint Laurent Runway, Look 43. Model Caroline Ribeiro.

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 Goldworm label was created by Gertrude Goldworm in 1928 and became one of the best known American knitwear companies of its time. In the early fifties they collaborated with an Italian knitwear company and merged the aesthetics of American fashion with Italian traditional craftsmanship. Just befirre the turn of the sixties, Beverly Tuttman, Gertrude's daughter, joined the firm as head designer and bright high fashion to the label. This dress is from the early 19770s and the label was well established and a part of American evening wear. It is a simple little dress that still has high impact.

The dress is made from an easy to care for black synthetic knit mixed with a silver metallic lame knit on the straps and waist. The addition of silver takes an otherwise simple little dress into something fabulous. It is an easy dress to wear and it has elastic through the waist so is easy to fit. You just slip it on and the waist adjusts to sit perfectly on you. The front is made to skim over you and wraps slightly around the sides. The waist is detailed with the silver. At the top the neckline is gathered and looped over the straps for a bit of detail there. The back is left completely open except for the silver straps that crisscross over you. Because of the elastic at the waist you can wear the dress with the elastic sitting higher and have the top blouse over more or pull it down low to the top of the hips for a longer feel. The skirt falls from there in a long easy line that widens out as it near the hem. It's just an easy fabulous dress. Excellent condition

Online and slips on to wear with elastic through the waist. Tagged a vintage 6. The easy waist and open back should allow it to fit a range of sizes. The knot has stretch

Bust: no true side seams but will cover 17.5-21"
Elastic waist: 11-16" flat across from side seam to side seam
Hips: 21-25" flat across from side seam to side seam
Bodice: 17" from top of bodice to waist
Skirt: 42" from waist to hem with 3" turned under

Modern Sizing Equivalent: XS-MED

Item# DD4285

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 had the twin of this dress in blue in the shop before and a version of this dress was shown on the runway in a printed chiffon. These fabulous jersey ones are what were produced for the shops in addition to the printed chiffon ones. This collection was shown in Marrakech and Vogue's Sally Singer said the collection was "about luxury, globalism, and culture". The dress I have here is simpler then its runway counterpart but that just makes it that much more wearable to that many more events. I absolutely love this dress even more this second time around. It is gorgeous.

The dress is a made out of an inky black jersey that falls like a dream. It is heavy enough to feel like a high quality piece but still will move and flow as you walk and move. The front plunges into a low V just slightly crossing over itself where it meets the band of fabric at the waist. The tops of the triangle that cover the bust are twisted for detailing and then they fall into a deep V at the back. This leaves you bare on both the front and the back. There is a little jersey cord that runs across the back to hold the halter perfectly in place. The skirt falls to the floor at the front and there is a tremendous amount of fabric in the skirt. At the back the shoulders extend out to a caped panel of the same jersey. This also falls to the floor and is one long fabulous swath of jersey. At the sides the cape is curve back into itself and attached down the sides so that it is a part of the dress and not a separate piece. It catches the air and billows out around you as you walk. The effect this has once on and when you move is fantastic. It is fabulous on the body. It appears to have been worn very little if at all. Excellent condition

The jersey serves as the lining and it slips on to wear with an inner elastic at the waist. The elastic is what gives it its shape. If you needed more room or ease through the waist it would be very easy to extend it so that someone with a larger frame could wear it since the rest if the dress is really loose and easy. Tagged a FR38, UK10, IT42, US6

Bust: no true side seams but each triangle will cover 7-10" across
Waist: 14-16" flat across from side seam to side seam
Hips: open
Bodice: 16" from top of bodice to waist
Skirt: 46" from waist to hem

Modern Sizing Equivalent: SML-MED

Item#  DD4286

Reference Photo: Resort 2020 Christian Dior Runway, Look 87. Model Lineisy Montero.

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 John Kloss for Cira line was originally intended to be worn as lingerie pieces but many that you find now can be worn as a dress. The recent trend towards wearing items more sheer and layered over inner foundation garments makes them suitable as outwear now. They are very collectible and fabulous examples of 1970s lingerie / hostess wear

This one walks the edge as far as how sheer it is. It def has a touch of sheerness in a strong light but you could use it as a cover up, layer it, or be daring and just go for it with undergarments. I love his work and this piece is a great example of how his designs worked with the curves of a woman's body to show it off to its best advantage. He deliberately chose good weight and quality nylons that held the color well and would drape exactly as he wished. This simple cut piece is done in a bright barbie pink. It is better in person in my opinion as the camera is not quite catching the right tone of pink. It slips over the head with no closures. The straps curve over the shoulders and at the front the bodice has a curve seem that runs under the breast. The panel of fabric above this is cut so that it drapes slightly went on the body. At the back it is scooped very low that leaves the back almost completely bare. The skirt falls from there skimming over the waist and is quite full by the time it reaches the hem. That is it. It is bare on top and that brilliant colour and sexy fabric is all that it needs. Excellent condition

Unlined and slips on to wear no closures. It looks to have been worn very little if at all. Tagged a vintage Cira large.

Bust: no true seems but will cover up to 15" across
Seam under the bust: 17-18" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: 19-20" flat across from side seam to side seam
Bodice: 11" from top of shoulder to seam under the waist
Skirt: 42" from seam under the waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD4275

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 gorgeous Valentino dress that I have dated to Spring 2000 based on other examples of it we found when researching. It is beautifully made and a wonderful example of Valentino's main label and the work that he was doing during this time period. I love this one with its insanely low set sheer side panel. It is almost shocking to see it be that bare and from that time period. It is a little sexier then some of his work tends so be but it still has that refined elegance that you would expect from him combined with a bit of pure drama created in that moment when you first see the dress on and that huge expanse of skin covered with nothing but netting and sequins. 

This is a stunning Valentino and it is almost shocking when you realize how deep that side panel falls and that the entire half of the front is made of that same sheer netting. This is the kind of dress that you see in real life and it makes you swoon. As good as it looks in the photos it only really comes to life on the body. The dress is cut with a very soft and easy feel. The bodice is suspended from two tiny straps that curve over your shoulders and each strap is finished with a row of tiny black sequins. The center dips softly down at the front and a panel of netting is set on one half of the front. This netted panel has no backing so is sheer and transparent. It runs from the top of the neckline and then angles down the front all the way down the side to past the hip. The netting is completely finished with an intricate pattern of glossy black sequins that cover it entirely. It angles back up the back to meet the other strap and leave part of the back bare under the netting as well. It is like a long inverted triangle. Falling on either side of the triangle is a double layer of silk chiffon panels that create a ruffle that runs down the dress. At the front it starts around the waist area and at the back it falls from the top of the dress just under the strap. These create tremendous movement when you move. The rest of the dress is made from a light silk crepe that is entirely cut on the bias so that it drapes down and over the bust, waist and hips yet still shows off your curves. At the back the dress falls in a low scoop that leaves actual bare skin. The dress is loose and easy through the body to offset all that bareness. The hem widens out quite a bit which create lovely movement around the bottom of the skirt. It is so sexy and yet so refined. It is just stunning on the body. Excellent condition with a minor note below

Fully lined under the silk parts with a black silk. The netting is not backed.  It closes with hidden set back zipper. Tagged a vintage Valentino 12. I see a bit of very minor snagging on near the seam opposite to the netting and a tiny area of thinning near the end of the chiffon panel

Bust: 17-20" flat across from side seam to side seam
Waist: to 15-16" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 58" from top of shoulder to hem

Modern Sizing Equivalent: MED-LRG

Item# DD4266

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 has the significance of being from Mr. Valentino' final show before he retired. Its twin in white walked the runway for Look 67 and we have added some runway shots so that you can see just how fabulously the dress moves when on the body. Vogue said this last collection was; 'Crisply puncturing the potential for a predictable end-of-era wallow in sentiment, Valentino played it as an upbeat, fast-paced whirl of breezy, pretty, drop-dead gorgeousness that blew any lingering sense of ladylike stuffiness to the winds. If there's a problem, it's only being spoiled for choice. What to pick from the head-spinning plethora of dresses on offer?' ... and indeed the collection was full of stunning choices. This particular dress also has the added provenance of being the one that Kathryn Gallagher wore for the Elton John Oscar party in 2022. She looked spectacular in it.

I love this dress. This is what the sexiness that Mr. Valentino built into his dresses is all about. He had this ability to do sexy dresses that still have a beautifully elegant feel. This dress was shown in white on the runway but I feel like it might be an even stronger in this black version. The black brings this sense of a femme fatale to it that works so very well. The dress is made from a silk cady that has a slight bit of stretch to it. This means that despite the bareness of the plunge and hourglass feel it has, it is still extremely comfortable to wear. the straps are wider and curve over the shoulder. The front plunges very low and here is one single little tie near the base that keeps it in place and keeps it from being completely scandalous. This also helps bring the shape in at the waist. It skims over the hips and falls to the floor gently widening out is it nears the hem. The back is spectacular. There is a wide cut open scoop that runs to the low back. Multiple little bows run across the opening to hold it in place and give you a slight bit of coverage over your bare back. The resulting peek-a-boo affect is fantastic. The back hem is cut to be a longer than the front so you get a bit of a trailing behind you feel once it is on. The dress is in its original supermodel length and it is gorgeous. Excellent condition

Fully lined in a black silk and closes with a hidden set side zipper. You can use the bows to adjust the fit by a but. The bows can be completely tied and untied. Tagged a vintage Valentino 10 and it still has its original price tag of $5307 which is about $7500 today.

Bust: each triangle covers 8" across and there are no true side seams
The seam under the bus is 16" flat across from side seam to side seam
Natural waist: 15" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Bodice: 11" from top of bodice to top of the seam under the bust
Skirt: 51.5" from top of the seam under the bust to front hem and 54" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD4257

Reference Photos: (1-3) Kathryn Gallagher in this Valentino for the Elton John Oscar Party, March 2022.  /  (4-8) Spring 2008 Valentino Runway, Look 67.

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 fabulous dress is the twin of the dress that walked the Spring 1986 Yves Saint Laurent Rive Gauche runway. I was so pleased to find some shots of it on because it really shows you just how much it comes to life when worn. On the runway Yves put a short curved cropped bolero over it for part of the walk. An interesting thing to note about this dress is that it is a version of the 1973 plunge dress that I have shared on my Instagram in the past. This one has different detailing at the waist and a fuller skirt. I always find it interesting to see how Yves revisited ideas throughout his career. I love having such a well documented piece in the shop and it doesn't hurt that it is drop dead gorgeous.

This is a dress that is insanely sexy and bare feeling and yet the black colour and minimal lines keep it feeling fresh. The dress is made out of a black silk jersey that has amazing drape and feels easy-to-wear once on the body. The bodice has a halter style front that plunges right to the waist. The sides are also left open and bare to the waist and then there is a last final deep plunge at the back that leaves most of the back bare. Despite its bareness it is cleverly cut so that when you have it on it stays perfectly in place. The waist has a wide band of the same fabric that has been gathered in two horizontal stacked on top of each other. This  banded detailing sits just under the base of the plunge. Under that the skirt flows to the floor in a sweep of silk jersey. There is a tremendous amount of fabric in the skirt and this gives the skirt beautiful movement when you move. It is stunning and a dress you can wear in many different ways, on its own, with things layered over it, or under. Excellent condition with a minor note below

 The dress unlined through the bust and skirt and closes with a side zipper. The waist is back by a band of black lining for a little added structure. Tagged 38 with a hand written context tag. If you hold the fabric of the skirt up to light there are some small pinholes scattered throughout towards the hem. It held up beautifully to cleaning and they are stable. With the amount of fabric in a skirt you would never see them unless you specifically hold it up to the light. It otherwise looks to have been worn very little if at all.

Bust: each triangle covers up to 10" across with no true side seams
Underbust: 15" across at the top and under the bust from side seam to side seam
Waist: 14" flat across from side seam to side seam at the middle seam of the waist
Hips: open
Bodice: 12.5" from top of bodice to top seam of band
Banding: 4.5"
Skirt: 42" from the bottom seam of band to hem

Modern Sizing Equivalent: XS-SML

Item# DD4255

Reference Photos: Spring 1986 Yves Saint Laurent Runway.

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

This collection marked the first prêt-à-porter collection after John Galliano's departure. After being heavily criticized for the couture collection that proceeded this, Bill Gaytten "headed back to ground zero, the archives where the Dior legacy rests untroubled by the wayward to-and-fro-ing of topical vagaries" according to Vogue magazine. A longer version of this dress walk the runway for look 45 of the show. It was meant to have the feel of the famous Grace Kelly dress but with a wrapped more intricate bodice to give it a modern touch. I think it was perhaps the best piece of the show and it's an interesting piece of Dior history as well. It is very beautiful

The version that walked the show was to the ground. Distressed depending on your height will fall between mid calf and ankle. It makes the dress that much more wearable and versatile. The dress is made out of a fine ivory coloured silk chiffon that has a touch of beige to it. The bodice is stunning. The silk chiffon already has a texture that runs through it and then the bodice plays on this by wrapping and twisting the silk to give it even more texture. It dips into a V at the front with an added panel that comes up and over the shoulder to close the low plunge. On the opposite shoulder there's a cut out that extends into a separate panel all the way down the back. The back is left open for an expensive skin to show and those little glimpses of skin between the cut outs and panels is exquisite. It has a touch of sexiness to it but in a very refined elegant way. The waist wraps for shape and is detailed by a black 'ribbon' that is completely covered with a black glass tube beads. This adds a stark contrast to the dress and brings in the waist as well as being very pretty. The skirt falls from under that and is extremely full. There is a tremendous amount of fabric in the skirt. When you stand still you get an idea that it flares out but if you twirl it would give you the feel of a full circle skirt. The lightness of the fabric allows it to move with your slightest movement. You can see that in the runway video and the movement this dress has. I love it. This would make an amazing wedding dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. And of course it could also be worn to any event. Excellent condition with one minor note below.

Fully lined in a ivory silk chiffon and closes at the side with a series of chiffon covered buttons and loops. It appears to have been worn very little if at all. I see one tiny pull in the fabric on the back shoulder. Please see the photo after the label shot. Tagged a FR36 GB8 IT40 US4

Bust: approx 16" flat across from side seam to side seam with one side having so true side seam
Waist: 12-12.5" flat across from side seam to side seam
Inner hips: to 20.5" flat across from side seam to side seam
Bodice: 12" from top of shoulder to top of waist band, waist band approx 6"
Skirt: approx 36" from bottom of waist band to hem
Total length: 54" from top of shoulder to hem

Modern Sizing Equivalent:  XS-SML

Item# DD4252

Reference Photo/Video: Spring 2012 Christian Dior Runway, Look 45.

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 particular design from the Halston IV line is one of my favorites besides the one shoulder dresses I find for you. The design is so simple but at the same time it has so much impact with its bare and sexy feel created by the plunging front and sides. It is an incredible piece that you can wear over and over and style it in a zillion ways depending on what you pair with it. I have included some reference photos from the main Halston line that shows where the design for this dress originated. I have also included photos of Martha Hunt and Emmy Rossum who both have worn the twin of this dress from my archives. I love having these photos because it lets you see just how fabulous this dress is on.

This is a dress that is insanely sexy and bare feeling yet the ivory colour of it keeps it feeling fresh with a touch of innocence to it. It somehow manages to walk that line in that very Halston kind of way. The dress is made of a wash and wear cream coloured jersey. It has amazing drape and it feels easy-to-wear once on the body. The bodice has a halter style front that plunges right to the waist. It has an opening that you slip your head through and then a panel of the same fabric drapes over the back. Long ties extend out from each side of the panel and you use these to wrap it into place and tie it at the front. At the back this leaves a gap between the bottom of the panel and the waist for a little flash of skin. The sides are also left open and bare to the waist. Despite its bareness it is cleverly cut so that when you have it on it stays in place. The ties snatch in the waist as much as you want and the skirt falls from there. There is a lot of fabric in the skirt and this gives a tremendous movement when you move. The dress has the added bonus of traveling very well. It is the kind of piece that you can throw into your suitcase and slip on with either flats or heels when you reach your destination and be instantly ready to go. This would make an amazing wedding dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. And of course it could also be worn to any event. Excellent condition with a minor note below

Unlined and slips on to wear. There is elastic through the waist and it ties into place as described above. This makes it very easy to fit and it should fit a range of sizes. If you don't like how it dips in the back and leaves that space you could easily tighten the elastic more or tie it in a way so it doesn't do that. I see perhaps the faintest a bit of darkening here and there in the skirt. This is only seen when it's laid out flat. There's so much fabric that I really just mentioning to be very picky. The easy cut and elastic waist should allow it to fit a range of sizes

Bust: no true side seems but each triangle covers up to13.5" flat across
Waist: 17-21" flat across from side seam to side seam and you use the tie to belt to cinch it in
Hips: open
Bodice: 15.5" from neck to waist
Skirt: 44" from waist to hem and the back extends down couple inches lower

Modern Sizing Equivalent: SML-LRG

Item# DD4250

Reference Photos: (1) Emmy Rossum in Halston for Harper's Bazaar US.  /  (2) Martha Hunt in Halston.  /  (3) Spring 1973 Halston Runway.  /  (4-6) Spring 1977 Halston 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 was the collection where Donatella went back to using and styling her models to look like super models like her brother Gianni had done in the past. Vogue said that; 'The aura of glamour that sparked off the flying hair and luminous faces of Carmen Kass, Daria Werbowy, Eugenia Volodina, and Karen Elson was a strong reminder of what once made Versace electrifying.' The collection focused mainly on daywear but a very Versace notion of that. This was Look 25 in the line up and was the strongest piece of the shorter dresses presented. Its twin ended up being the one used for the ad campaign that season and was shot on Demi Moore who looked utterly fabulous in it. I am very happy to have that shot, runway photos and a video so you can see how amazing this dress is once on the body. It is gorgeous.

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

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

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

Modern Sizing Equivalent: XS-SML

Item# DD4216

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

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

Loris Azzaro launched his label in 1967 and quickly defined his trademark looks by using ornate fabrics and avant garde ways of defining the body. Some of the most beautiful women in the world wore his clothing including Marisa Berenson, Raquel Welch, Jane Birkin, Sophia Loren, Brigitte Bardot and Tina Turner. It was a label that defined sexiness and had a certain French flare that women world-wide loved. By the seventies and eighties he was experimenting with volume and proportions and new fabrics that at the time were all cutting edge. This is a stunning example of his work from the early 1970s and this one is even more special since it is both a book piece and the dress from the ad campaign that season. Especially luck finding this photo because on my dress form and in person the dress can look pretty straight up and down, but once on the body it transforms into the bombshell dress you see in the reference photo. It's spectacular

This is a killer dress. It is one that will come to life even more once it is on an actual body because as mentioned above, this is a dress that in person it is even better. The first thing you see is that the entire dress is covered in overlapping gold sequins that catch the light from every angle. This alone takes your beathe away when you see the dress in person. The bodice of the dress has this cut out and  sculpted feel to it that is fantastic. There is a wide collar that wraps around your neck and then curves down into the bodice. A low scoop out is open and bare under that and then the bodice is seamed to be fitted and shaped around you. It nips in at the waist and then the skirt under that curves over your hips and the falls to the floor in a sleek column to the floor. At the back it is slit up the center quite high so that you see a flash of leg as you walk away. The entire back is also left bare and open and it is as incredible from the back as it is from the front. The dress is wonderfully made. It is a stunning dress and you will definitely turn heads in it when you walk into the room. This might make an amazing wedding dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. And of course it could also be worn to any fabulous event. Great condition with a note below.

Unlined with narrow silk panels covering the inner seams and hand stitched into place. It closes with a zipper at the back and hook and eye at the neck. It looks like someone extended the back neck at some point and stitched in a small overlap at the front. There are areas on the bodice and near the back edge where some sequins have started to loose their gold colouring. And on looks like those areas are catching the light differently but they could easily be replaced if you if it bothered you please see the photos after the label shot. Hand finished throughout.

Neck: 16" around
Bust: 16-18" flat across from side seam to side seam
Waist: 12-13.5" flat across from side seam to side seam
Hips: 16-18" flat across from side seam to side seam
Length: 60" from lower seam at neck to hem
Back slit: 22.5" from hem up

Modern Sizing Equivalent: SML-MED

Item# DD4199

Reference Photo: Spring 1973 Loris Azzaro Ad in Jour de France Magazine, as seen in the book "Azzaro: Fifty Sparkling Years".

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

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

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

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

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

Modern Sizing Equivalent: XS-SML

Item# DD4167

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

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

I think at this point in time everyone pretty much recognizes certain Celine pieces from the Phoebe Philo days and this fringed black dress is one of those iconic looks. This was Look 15 in the Fall 2017 show and was one of two looks in the show that had this fringing detail. The second was for look eight where she wrapped a fringed scarf under a long jacket and over pants. When the collection went to production they also made a dress with sleeves that had this same fringe at the bottom. This one I have today is the twin of the one that was shown on the runway. On the runway they styled it with an added ivory under skirt that peaked out below the fringe. Without that under piece you will see a flash of skin through the fringe as you walk. This show is interesting to research as it is the second show after the Pre-Fall one where Phoebe went completely silent. She once again offered no press quotes, gave no background on her inspiration and was not present at the press previews. It drove the press mad and reviews that you can find online for this time period make that quite clear... but her loyal fans loved here even more for it. Her work has spoken for itself ever since and still garners the same devotion from her fans if not more.

This is such a beautiful dress. You just slip the halter neck part over your head, zip it to close at the back and walk out the door. It is in a black fabric that has some slight weight to it so it holds the shape very well. The neckline is slightly asymmetrical where it slips over your head and at the back of the collar it's notched so that it sits comfortably on the back of your neck. It skimmed down and over your body widening out as it nears the bottom seam before the fringe. At the back it's zippers to the side to follow a seam set there. The back is scooped and open and it is also cut on a slight asymmetrical curve. These are the small little things that people love about her designs. She has these little details that are so subtle but they have this wit and quirkiness and work perfectly to give her pieces that signature Phoebe vibe. The dress falls loose and easy over the body and then is that killer fringed bottom. The fringe that you usually see on things is almost always a braided cord but for this dress it is actually done with an ultra a fine black thread. Hundreds of thousands of threads are attached all around the bottom and they are so fine and light that they give it is incredible movement. They are also amazingly soft in feel. There is a tactile sensation that you just don't get with the fringe out there that you usually see on pieces. And it has pockets. This is the genius of Phoebe where she manages to have something be so perfectly simple and easy and yet have so much drama at the same time. I love it. Excellent condition 

Unlined and slips on to wear with a hidden set zipper set offside at the back. Tagged a Celine 38. Pockets hidden along each hip. It appears to have been worn very little if at all.

Bust: 16" flat across with no true side seams
Waist: 13" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: approx 62" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# DD4159

Reference Photos: Fall 2017 Celine Runway, Look 15. Model: Birgit Kos.

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 starting to work through a collection of couture pieces that I am handling at the moment for my client and all she could recall for this piece was this it was her mothers and that it was from the 1990s. I have not yet found a photo reference for this one but when I do I will add it and send to the new owner. The set is incredibly beautiful on the body. True Haute Couture pieces by Chanel are an extraordinary find as they are so very rare and hard to come by. It is an incredibly beautiful example and historically important example of the work that the Chanel ateliers were doing during this time period. It is absolutely gorgeous to see in person.

The ability that this set has to transform once on the body is fabulous. With the jacket on the set has that classic Chanel suit feel and it feels very elegant and reserved. But once you take the jacket off it takes on more of the feel of a more sensual evening piece. The dress has that easy dropped feel of the twenties that Karl so often touched upon in reference to Coco's initial designs for the house. Both pieces are made from a deep blue silk organza. This fabric allows it to keep the shape that he intended while still keeping both pieces extremely light in weight. The dress is dropped from the shoulder from wide straps that curve up and over each shoulder. The bodice is easy fitting and cut to skim over you with a shallow V at the front. It is hand pieced together in a pattern of panels that are meticulously sewn together. The waist is dropped and then from under that the pleated skirt flows out to the floor with incredible movement. The combination of this fabric choice with the pleats gives the skirt incredible movement. The pleats open and flare outward as they reach the hem and this allows the skirt to swing out around you. Two layers of silk tulle are built-in underneath the skirt to add to and create the volume that you see. The lightness of the fabric and the pleats combine to make the skirt move at your slightest movement. I think it's incredible to see this on and moving. The jacket sits over top of this and it has a soft and simple cut. The neckline is cut wide across to follow the neckline of the dress underneath. The collar is wide and notched for that bit of a 20s feel to the design. The sleeves are long and each has a notch that runs up the inside seam. It hooks and snaps to close down the front. It does have structure but it's meant to look soft on the body. There are small shoulder pads in each shoulder but they are soft and light. There is a signature Chanel chain at the base of the jacket so that it hangs perfectly. All of the work is meticulously done by hand to Haute Couture standards. It is an incredible piece of Chanel couture. It's very beautiful and even better in person. Great condition with a note below

The jacket is fully lined in a blue silk and closes with hidden snaps and hook and eye at the front. A signature Chanel chain runs around the inside hem. The dress is lined in the same silk organza through the bodice and then the skirt has two layers of silk tulle. One layer is black and the other is a matching blue. The dress closes with a zipper and then there is a separate set of snaps to close on each of the three layers of the skirt. An inner waist stay hooks to close. Some of the edges of the seams have slightly faded. Mainly on the jacket and bodice of the dress. It gives it a kind of degrade look. It almost feels intentional because it's so even everywhere but I can't say for sure that it is. Please see the shots after the label shots and on the general shots as well. Some of the pleats have softened slightly in the skirt. Both pieces have an appropriate Haute Couture number and tape

Jacket
Sleeves: 24"
Shoulders: 15"
Bust: 18.5" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: 22" flat across from side seam to side seam
Length: 24" from neck to hem

Dress
Bust: 18" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: open
Bodice: 18" from top of shoulder to slightly dropped waist
Skirt: 42" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4139

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 1951, 27 year old James Galanos launched his first label called Galanos Originals. By 1954 he had won a Coty award and the Neiman Marcus award. By 1958 he was producing clothing that could range in price from $200 to $3000, an astronomical price for ready-to-wear for that time period. His ready-to-wear line was made close to couture standards and with a level of craftsmanship that was on par with the French couturiers. Galanos was a master cutter and draper and he used many couture techniques in his work. Grace Kelly was an early fan. He was truly one of the great American designers and his work is held in all of the major museums around the world. He is one of my personal favourites. This dress is exceptional and I was very excited to have it come into the shop. It would be red carpet worthy and it would also be an amazing wedding dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. It already has the something blue built in. And of course it could also be worn to any non wedding event too. 

I love this dress. The color combination is fabulous together and the two different silks that he used are the highest quality. Galanos excelled at silks and silk chiffon and this dress is a testament to that. It is very difficult to work with these fabrics and have them sit properly. The skirt is really where you see his genius. It is made out of four layers of an ivory silk chiffon with each layer stacked perfectly over the one beneath it. Then on top of those is a fifth printed floral layer. This final outer layer has a touch of texture to it that makes it incredibly beautiful. The layers are attached at the side seams and around the waist so that the hem and shallow slits at the sides can benefit from the full movement created by all the layers. This is what gives the dress movement when you move while still keeping it light as air. Along each side of the skirt is a panel of a liquid finish silk satin. This is a clever way to help the skirt hold its shape and give it weight so that when you move it always sits right. The side panels are actually extensions that run down from the bodice. The top is a simple affair that covers you at the front and leaves the back completely bare. It is gathered in soft horizontal folds across the bust and then those gathers tighten and curve down low at each side. Instead of wrapping around you to the back they drop and extend into those side skirt panels that you see. It is incredible. Tiny straps curve up and over your shoulders and then drop all the way down your back to the waist to hold the dress in place. The inside of the bodice is lightly boned and then lined with what feels like several layers of silk and structure so that you can wear it with nothing underneath. To finish the look he then added this spectacular and huge flower print on both the front and back of the skirt. This bold blue flower covers almost the entire skirt and makes sch a beautiful statement. It is like wearing a piece of art. It would also have had to have been all planned out prior to construction and the silk used for it done separately so that the flowers fell in the exact right position. As with most silk chiffon pieces it really will only truly come to life when on an actually body. It is beautifully made and feather light. Gorgeous. Excellent condition with a small note below.

The multiple layers of silk in the skirt serve as the lining. It closes with a low back hand set zipper. Hand rolled edges and hand finishes throughout. Light boning through the bodice. There is the very faint mark on the side panel of the skirt and some small ones near the hem of the inner lining. Please see the last two photos after the label shot. Slightly more ivory in person then how it photoed.

Bust: the total width of the bust across is about 16" and there is no back
Waist: 13" flat across from side seam to side seam
Inner Hips: to 18" flat across from side seam to side seam
Bodice: 14" from the top of the strap to the waist
Skirt: 42.5" from waist to hem

Modern Sizing equivalent: XS-SML

Item# DD4064

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

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

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

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

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

Modern Sizing Equivalent: XS-MED

Item# DD4036

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

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

This John Galliano dress is one of the most beautiful dresses I have ever seen. And yes - it is the dress that was worn by Ariana DeBose earlier this year to attend the West World HBO premier. I’ve included photos of her here from my various Instagram posts from that evening and you can see and read more on my Instagram. She even landed in the Vogue Best Dressed of the Summer season so far list in this one. It is spectacular. It is a stunning example of his work and is truly a beautiful piece. 

No matter how good you think that this dress looks like in photos and on Ariana, it is even better in person and moving. The silver metallic beads that creates the pattern on the silk catch the light from every angle when you move. The dress is made out of a deep red silk that has the slightest bit texture to it. The dress is cut on the bias so it just glides over the body. It doesn't even have any closures, it is made to just fall over you in a sweep of bias cut fabric. It is in its original supermodel length and has not been altered. It is cut to skim over the bust with a V neck plunge on both the back and the front. The V cut out are set just slightly off center and the back one scoops lower then the front. The dress is so well made that you could probably wear either side to the front and it works if not for the depth of the back plunge. The dress skims over the waist and hips and is cut so that the bias cut of the silk follows your curves and highlights the body underneath without it being too tight and fitted. Galliano was a genius when it came to this cut. Once past the hips the dress flares out as it nears the bottom and is incredibly long. Set in and around the full lower skirt are panels of the same silk that have been pleated. So when you walk or move these kick out and expand to add volume while still falling in a smother column when standing still. These glide and curve around you and add the illusion of even more height. That pleat work is picked up again at each shoulder where a ruffle of pleated and smooth silk wraps over and down the top of the shoulder for a pretty feminine touch. The final perfect detail is that spectacular design made out of a combination of silver tube beads and embroidery work that wraps around the waist and top of the hip. These cover each side of you and cleverly draw the eye in to add shape but without sacrificing the comfort of the bias cut. It is just wonderful. Excellent condition with a minor note below

Fully lined with an inner silk chiffon lining and slips over the head to wear. No size tag present. The measurements given below are the comfortable range when the dress is laying flat. It is in its original uncut length. Being bias cut the length may come up a bit once on the body. The dress should work on a large range of sizes given the bias cut. On smaller frames it will drape more and be more fitted on larger frames. I think the pleats may have softened a bit over time but its hard to know if this was not an international design detail to play on its decadent thirties feel. The very slightest touch of a watermark here and there near the hem. You don't see this at all unless its laid out flat and the skirt opened completely.

Bust: 18-21" flat across from side seam to side seam
Waist: 15-19" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Length: 62" from top of shoulder to hem

Modern Sizing Equivalent: SML-LRG

Item# DD4029

Reference Photos: Ariana DeBose, wearing John Galliano from Shrimpton Couture, at the Season 4 Westworld Premiere, 2022.

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

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

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

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

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

Modern Sizing Equivalent: XXS-XS

Item# DD4001

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

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

This fall 2004 John Galliano dress is one of the most beautiful dresses I have ever seen. And yes - it is the dress that was worn by Claudia Sulewski earlier this year to attend her SXSW film premier. I’ve included photos of her here from my various Instagram posts from that evening and you can see and read more on my instagram. This dress was a production piece made for retail and is infinitely more wearable then the pieces shown on the runway that season. It is spectacular. It is a stunning example of his work.

No matter how good you think that this dress looks like in photos and on Claudia, it is even better in person and moving. The silver metallic thread that creates the pattern in the silk has a glow and glint in the light that is not quite caught on camera. The video that I have included here gives you a much better idea of the dress once on. The dress is made out of a fine silk chiffon that has a slight texture to it. The colour is a soft pale baby blue and the silk chiffon ruffles are a paler shade of the same blue. Silver lame thread is woven through the silk to create stunning medallions that run over the entire dress. The dress is cut on the bias so it just glides over the body. It is in its original supermodel length and has not been altered. It is cut to skim over the bust with a V neck plunge on both the back and the front. The dress is so well made that you can actually wear either side to the front and it works. The dress skims over the waist and hips and is cut so that the bias cut of the silk follows your curves and highlights the body underneath without it being too tight and fitted. Galliano was a genius when it came to this cut. Once past the hips the dress flares out as it nears the bottom and is incredibly long. That bias cut is further highlighted by the curving angled seams edged in a pale blue silk chiffon ruffle. These glide and curve around you and add the illusion of even more height. The transparency of the chiffon used for those ruffle gives the dress another layer of texture and dimension. The final perfect detail is a row of his signature tightly spaced silk covered buttons and loops that run down one side. It is just spectacular. This would make an amazing wedding piece for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration and of course it would work for any red carpet event or gala. Other then being worn for a couple of hours on the red carper I don't think it was ever worn. Excellent condition 

Fully lined in a matching silk chiffon. It closes down the side with a row of silk covered buttons and loops. Tagged a size US8, FR42, GB14 but the boas cut should allow it to work on a variety of sizes. The measurements given below are the comfortable range when the dress is laying flat. It is in its original uncut length. Being bias cut the length will come up a bit at the back. The dress should work on a large range of sizes given the bias cut. On smaller frames it will drape more and be more fitted on larger frames.

Bust: 16-20" flat across from side seam to side seam
Waist: 13-16" flat across from side seam to side seam
Inner hips: 18-21" flat across from side seam to side seam
Length: 69" from top of shoulder to hem

Modern Sizing Equivalent: XS-MED

Item# DD3999

Reference Photos/Video: Claudia Sulewski at the SXSW Premiere of "I Love My Dad", 2022 from Instagram. She was styled by Jared Ellner that evening

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 spectacular Alexander McQueen dress is from the Pre-fall 2016 collection. The presentation version was far more elaborate but I think I prefer this one. It allows you to really see the pattern on the lace and I think can be worn to more functions with its simpler more versatile feel. Vogue's Sarah Mower said in part of this collection; 'There’s a sensuous glamour emerging through Pre-Fall which seems to be hovering somewhere around the ’30s or ’40s. Sarah Burton has pinned it to a theme she called “thinking about a woman’s obsession with the possessions she treasures, like her jewelry and makeup, and the things she collects.” This Pre-Fall character is a properly elegant woman, with red lipstick and a penchant for feather chubbies and velvet ankle-strap platforms, who might reach into her extensive wardrobe and choose between any number of fragile, dramatic gowns for an evening out.' and the lace butterfly dresses were mentioned specifically; 'Well, it’s a delight when fashion can make you fantasize for a moment. Yet the fact is that Sarah Burton has steered this collection gently away from too much stylization. “It's quite feminine, and unconstructed,” is the way she puts it. The patterns of lipsticks, Fabergé eggs, butterflies, birds, and the McQueen skull motif appear as prints on silk dresses and on coats, as well as on the show-stopping embroidered sheer gowns.'

The dress is almost startling in its beauty. It is made from an inner taupey nude silk that acts as the backdrop for the black net lace that sits over it. This allows you to fully appreciate the pattern that is worked through the lace. From a distance it acts as an illusion that you are bare under the lace. The lace itself has large butterflies worked through it that are beautiful. Every line of the dress is perfection. It falls from the shoulder to follow the curve of your body. Seams worked through the dress create the shape that you see but they have taken great care to line up the pattern of the lace along each seam so that your eye is not broken and the pattern remains true as it trails across the dress. From the waist is falls in one long sheath to the floor widening out gently as it reaches the hem. At the back it has a large curved cut out that leaves you entire back bare and exposed. So when you walk away it has a very sensual and sexy feel. The sleeves are the final touch and they are fantastic. Each is unlined so that you see bare skin through the lace. They are cut high and peaked at the top of the shoulder with a little bit of tulle at the inner edge to hold their shape. It is spectacular and a wonderful example of Sarah's earlier work. It is a wonderful dress now and will be a collectible in the future. Excellent condition

Fully lined in silk as described above and closes with a low set hidden zipper at the back. Three button and loops behind the neck. Each cuff zippers to close. Tagged a modern McQueen 42. 

Sleeves: 25"
Inset shoulders: 13" with natural shoulders approx 15"
Bust: to 17.5" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: 17.5" flat across from side seam to side seam
Length: 58" from neck to hem
Neck: 14" around

Modern Sizing Equivalent: SML-MED

Item# DD3964

Reference Photo: Pre-Fall 2016 Alexander McQueen Collection, Look 33.

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

When this Balmain debuted it was sold exclusively through Farfetch. That means that very few were produced and it was a very hard dress to get. It immediately sold out and there as only one production run released which has made it a very rare dress to find.  'Welcome to my jungle' said Olivier Rousteing to Vogue that season and went on to say that this was his most personal collection ever. It's twin was worn by supermodel Karlie Kloss to the Balmain after party that season which give you an amazing glimpse of how it looks like once on. It is a very special piece and I love it.

The dress is made from a leopard print silk jersey that is cut supermodel long. The fabric has some weight to it because of the sheer amount of it that there is and this helps to keep the drape and flow of the skirt perfectly in place once on the body. It is cut in a high set halterneck at the front and the fabric there is gathered in vertical folds so that it skims over you. A wide band of black curves around the neck and then down the sides. At the waist it forms a criss cross pattern around the waist that curves around to the sides. At the side of the waist between the black the fabric is again gathered in for detailing. The black bands gives the illusion of a waist cinching corset belt and draws the eye while highlighting the curves between the bodice and that amazing skirt. At the back the dress closes at the nape of the neck with two snaps and both are topped on the exterior of the strap with a gold raised lion head. It scoops into a low curve under that to leave your entire upper back bare. The signature chunky, exposed Balmain zipper sits low at the back. The skirt falls to the floor from there and there are yards and yards of fabric in it. The hem is cut longer at the back so that you have a bit of a train and at the center of the front it is split to the thigh. So when you walk you have this flash of leg showing and when you walk away it is equally as dramatic. It is amazing. It was never worn and is like new. Excellent condition

The dress has a full black stretch jersey inner lining. It closes at the back of the neck with snaps and at the low back waist with a zipper. Tagged a modern Balmain 42.

Bust: to 18" flat across from side seam to side seam
Waist: to 13" flat across from side seam to side seam
Hips: open
Bodice: approx 16 " from top of bodice to waist
Skirt: 48" from waist to shortest part of the front hem, 65" to the longest part of the back hem
Front slit: 33" from hem to top of slit

Modern Sizing Equivalent: SML-MED

Item# DD2970

Reference Photos: Karlie Kloss at the Balmain After Party on September 25, 2014 in Paris, France.

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

Bill Gibb was one of the most influential designers in 1970s Britain and his clothes were sought out and worn by the rich and famous. His work has a high fantasy element and he was crowned Designer of the Year in 1970. Much of his work verged on couture and he was unrelenting in striving for perfection. I love finding his worn becasue its rare and exceptionally well made. It represents the more fantastical side of British fashion during this time period and I love that. 

This dress is amazing and a wonderful example of his work. It may not be what you typically think of when you see Gibb's work but it does show the range that he was capable of. The dress is made from a silk chiffon that has been dyed to a deep fuchsia that gradually darkens to a deep mauve. I love how the color deepens as it goes down the dress. The bodice is cut with a wide sleeve that comes out from the gathered and corseted waist. The neckline at the front and back dip in a deep V to meet the high set waist. This creates a beautiful shape that is far better on a real body then how it looks on my dress form. The front neckline is detailed with a little fabric flower that is finished with sequins to pick up on the detailing on the skirt and to tie the top and skirt together. The body of the dress is one large extra wide band. The silk is gathered over it and it is given  support and shape by that gathering and the seam work inits construction. This runs right to the top of the hip. The skirt cascades to the floor from there in a sweep of silk chiffon. Fused directly minor the silk of the skirt is a fantastic pink glitter that catches the light every time you move. The inner lining s a pale silver blue silk and having that colour layered under the top colour gives it a very unique effect that is conveyed better in real life then how it photoed. It is gorgeous and really needs an actual body in it to bring it to life. Excellent condition.

The dress is fully lined in a pale silver blue silk and closes with a side metal and nylon zipper. There are hook and eye along part of the bottom seaming of the arm on that side as well. Big iridescent glass buttons on each cuff. Small areas here and there where the glitter has fallen off but its minimal and I am being picky. It appears to have never been worn, or worn very little

Sleeves: approx 23"
Shoulders: no defines seam
Bust: no true side seams so open and variable
Natural waist: 14.5" flat across from side seam to side seam
Seam at bottom of gatherings 24" down from the shoulder: 18.5" flat across from side seam to side seam, skirt is open under that
Length: 57" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3068

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