• This is an incredible and rare true Haute Couture dress whose pattern remarkably resembles a sketch we found from his 1953 collection.
• It was made under the creative direction of couturier Jaques Fath.
• Jacques Fath showed his first collection of just twenty garments in the spring of 1937. It was well received and he steadily built a strong clientele to become of of the busiest ateliers in Paris.
• Fath is considered to be part of the 'big three' post-war Parisian designers, along with Dior and Balmain. The Fath label was shuttered in 1957 after Fath's death three years earlier. One of his signature looks was a strapless hourglass silhouette. The dress is gorgeous and a beautiful and rare example of his work during this time period. 
• It would have been completely made by hand in the Paris atelier.
• The fabric is a stunning silk that has a pattern suggested of an animal print running over its entire surface. This has been done in an ivory with shades of charcoal grey. Worked into the pattern is a subtle muted gold metallic thread.
• The dress is strapless and curves up on the bodice. There is a black silk inner panel that is set behind the front panels that you see here. This let those front panels sit slightly off of the body and create the illusion of more bust.
  
• The fabric is gathered in along an angled seam under that to a wide band that defines the waist. I love how there is a bit of the same black silk that peeks out along one edge to tie all of the elements of the bodice together.
• The waist is cinched in and to achieve that beautiful hour glass silhouette there is a full built-in boned couture corset attached to the inside of the bodice. I have taken photos so you can see how beautifully and intricately this is constructed.
• From there the skirt expands outward over the hips and curves beautifully down to the floor. The front has a slightly more sleek feel to it and then the back has added fabric built into it down the centre so that you get a beautiful soft fullness there. It is cut slightly longer at the back to help to add to that feel of more fullness there. If you really wanted the skirt to be very full you could add an underskirt. There is more than enough room.
• It is an absolute extraordinarily beautiful early Couture peace from the most magical era of Couture.
• The skirt is backed with a netting and there is a built-in boned corset. It closes with a back zipper and an inner waist stay hooks to close. There is light discolouration to the inner corset. At some point, someone added fabric tape over some small holes in the netting of the interior skirt and I see some tiny ones without tape. None of this shows on the exterior. There is light fraying on part of the front hem. Please see the photos after the label shot. All of the interior work is done completely by hand to Couture standards.
  
• No size tag is present so please go by the measurements listed below.
• Excellent overall condition
  

Bust: to 16" flat across from side seam to side seam
Waist: to 12.5" flat across from side seam to side seam
Hips: open
Bodice: 10.5" from top of bodice to bottom seam of the 3.25" waist band
Total length: 51" from top of bodice to front hem and the back hand extends another 6" past that

Modern Sizing Equivalent: XS-SML

Item# DD5531

Reference Photo: Spring 1953 Jacques Fath Haute Couture. Illustration by Pierre Simon.

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• This is original dress from the 1950s, maybe the 1940s that is completely made by hand.
• It is an absolutely incredible example of the high level of hand work being done during that time period and you would be hard pressed to find anything modern done to this degree outside of true Couture pieces.
• I have no formal history on the dress but it does have a handwritten tag with the name Edith that sits inside the hem. The possibility of this being the name of the owner is fascinating and one wonders if it belonged to perhaps a showgirl, dancer or perhaps an actress who would have worn the dress. Having the name added like that certainly does imply that it was more of a stage piece as this was common in stage pieces from the era.
• The dress has hundreds of thousands of sequins and beads hand applied over every inch of its surface. The sequins are incredibly dense in the way that they have been applied. They are set so that they overlap each other to the point where they stand up and off the dress slightly. The black sequins were done in a swirling burst design and this lets it catch the light differently and creates the most amazing effect.
• Added to that is a floral design in pale pink, gold and greens that is also done in sequins. This wraps around the bodice and then runs down the entire skirt of the dress with the density of the design getting heavier as it near the hem.
• Then over all of that are over-sized faceted beads in a variety of colours that have been applied by hand to add an extra bit of detail and sparkle to the dress. They are all jewel tones mixed with gold and copper and it is just incredible to see.
• The dress does have weight to it but it is perfectly balanced once it is on the body. 
• It has straps but can also be worn strapless. Inside there is a full built-in boned and cupped corset that holds the dress in place and adds shape. The waist is brought in by this corset and then the dress skims over the hips. As it falls to the floor it narrows down. There is an overlapping curved slit at the back that allows you to be able to walk in it.
• The dress is fully lined in a black silky rayon. The dress has an inner corset that hooks into place with a double row of metal lingerie hooks. The inner corset is boned and cupped. It is lightly tacked into the dress. I see some wear on the inside of the corset here and there. The dress zips to close over that. It is completely made by hand. 
• There is no size tag present so please go by the measurements below
• Excellent condition with the note above

Bust: to 16" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Total length: 53" from top of bodice to hem
Back slit: 26" from hem up

Modern Sizing Equivalent: XS-SML

Item# DD5524

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

• This dress was sourced from France and it was noted as being from the from the 1950s or earlier and into the 1930s or 1940s.
• The entire dress and its huge matching veil have been entirely made by hand and the lace itself is also handmade.
• Both of the veil and dress have been meticulously pieced together from larger sections of lace to create the shape of both pieces. That means all of the lace would have had to have been made and planned out ahead of time.
• The dress has higher neck and I love the soft scalloping around the edge.
• The shoulders are sloped and soft and extended into long sleeves that narrow at the cuff. Five little lace covered buttons and loops sit at the end of each sleeve.
• It is meant to to be more fitted over the bust and then comes in at the waist.
• From there it expands outward over the hips and is very full and open over the hips.
• The skirt is lovely and very full. It falls in beautiful soft rounded folds around you. There is enough room underneath that if you wanted it to feel very full, you could add a crinoline and/or additional under-skirting.
• The dress is made from a single layer of the lace so it does have transparency through the lace. This allows you to wear as little or as much of an undergarment underneath to be either daring or more conservative.
• The matching lace veil is two long continuous pieces of lace pieced perfectly together. It is narrow at one end and then opens up to be very wide by the other. A bride would have draped this over her head and then she could pin it into place or add flowers or some other decorations around the head to frame the face and hold the veil.
• This is an absolutely beautiful piece of history and an extremely rare thing of beauty. 
• The amount of hours and work to have made this is staggering to think about. 
• Both pieces are an excellent condition with perhaps a touch of very minor age related patina here and there on the lace. The colour in person is slightly more ivory.
• The dress is unlined and closes with a back zipper. Buttons and loops are at the end of each sleeve. I see a slight darkening to the fabric here and there but it is very minor. It makes it feel authentically vintage and does not detract in any way.
• There is no size tag present because it is a one off.
• Excellent condition

Dress
Sleeves: approx 22"
Shoulders: no defined seams
Bust: to 15" flat across from side seam to side seam
Waist: to 12" flat across from side seam to side seam
Hips: open
Total length: 58" from neck to hem

Veil
14" at the narrowest point at one end and 55" at its widest width at the other
It is 9 feet from end to end

Modern Sizing Equivalent: XXS-XS

Item# DD5514

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• Irish designer Sybil Connolly had her first major US fashion show in 1953. The American press dubbed her the 'Dublin's Dior'. Jacqueline Kennedy wore Connolly for her official White House portrait and Connolly was a particular favorite of Carmen Snow, the editor of Harper's Bazaar.
• It was made under the creative direction of Sybil Connolly
• The dress would've been made entirely by hand in her atelier in Ireland.
• In 1957 she launched her couture label. She created Haute Couture pieces made from Irish textiles and in particular she became famous for her distinctive use of  pleated handkerchief linen.
• This excerpt from the FDIM Museum explains Sybil Connolly's techniques: "Sybil Connolly's trademark gowns required a tremendous amount of fabric. To construct one pleated evening dress required between 72 and 90 yards of Irish handkerchief linen. After undergoing a secret pleating process, this initial yardage became 7 to 10 yards of slightly irregular, narrow linen pleats. Like the early 20th century designer Mario Fortuny, Sybil Connolly was very protective of her pleating process, swearing that it was a secret she would "carry to the grave." In her designs, Connolly usually oriented the pleats horizontally, covering the seams with self-fabric cording. The cords also lengthen the overall line of the garment, providing a counterbalance to the horizontal pleats. As Connolly tended towards solid colors, the stiff cording also provides a necessary visual contrast to the soft linen pleats."
• She worked directly with the cloth on a model and rarely sketched beforehand.
  
•  I found a quote that referred to the Irish linen she used to be 'of a quality so fine it was almost chiffon-like in weight' and that description is very accurate.
• The dress has a fairly simple line so that the pleating technique takes centre stage. The bodice is strapless and fitted and the pleated linen runs horizontally across the dress.
• The waist cinches in under that for shape and has a wide attached band done in a matching pale purple silk for added detailing.
• The skirt billows out from there and is very full. To help create the volume that you see the skirt has been set in and around the waist in soft cleats that open up into the fullness that you see as it falls to the floor. An incredible amount of fabric would have been used to create the skirt. 
  
• The dress comes with its original matching shawl. This is cut into a simple triangle with loops set just inside the outer edges to slip your arms through and hold it in place.
• This is a wonderful and very rare example of her work. Most pieces are held in museums.
• The dress is fully lined in an ivory silk and boned through the bodice. It closes with a back zipper on the inner corset and then a second zipper closes over that on the outer layer of the dress. There are areas throughout where the fabric has faded. There are also areas where the it has slightly discoloured. Please see the photos after the label shot. The dress is sold as found and is not sold as perfect. A video can be sent upon request if needed.
• There is no size tag present because it is Couture. Please go by the measurements listed below.
• Overall great condition with the note aboce.

Bust: 16" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: open
Bodice: 8.5" from top of bodice to the bottom of the 2" band at the waist
Total length: 53" from top of bodice to hem with 2" turned under
Shawl: 41" across the widest point and 25" from the point to the top of the shawl.

Modern Sizing Equivalent: XXS-XS

Item# DD5499

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• This is an exceptional and very rare example of a Heim Haute Couture work from the late 1940s early 1950s.
• It was made under the creative direction of Jacques Heim.
• Jacques Heim began his career working at his parents fur business. In 1923 he took that business over and made it into his own vision. Heim began designing a line of made to order, in-house couture pieces that used original fabrics most notably those of Sonia Delauney. In 1930 his label became an official member of Haute Couture and his self-named label, Jacques Heim, was born. Jacques remained at the helm of his business until his death in 1967. The label closed in 1969.
• This era of Couture was known as the golden era in part because of its excellence in every aspect to the art of Couture. This dress is everything you look for in an Haute Couture dress from this time period.
• The dress is a phenomenal example of Couture and is made out of a hand dyed net and hand dyed, handmade lace.
• The dress is completely made by hand and would have been made in his Paris atelier.
• Wide straps curve up and over each shoulder and then the front neck and back are both scooped with a more shallow version at the front in a deeper one at the back. The opening across the shoulders is cut wider across so that you can wear this dress more on the outside of your shoulders and expose the collarbones.
• It skims over the bust and is shaped and meant to be slightly more fitted. From there it nips in at the waist. The dress comes with its original matching belt that is also made by hand and covered in the same net and silk as the dress. The belt is slim in its cut and highlights the waist even more.
• The skirt is truly outstanding. It is the perfect rendition of that 1950s full "New Look" feeling skirt that has come to be so associated with that era. The skirt is made from five layers of tulle that are hand dyed to this incredible soft taupey grey that has a hint of purple in its undertone. These five layers sit on top of multiple layers of inner skirting. All of the volume that you see here is created from the stocking of all those layers. I have added nothing extra underneath for these photos, though I think you could make it even fuller if you took the time to starch out every single layer.
• Onto the very top layer of netting are hand applied strips of handmade lace that have been added in vertical rows. Fees stand down and over the bodice to the waist. From there they trail down the skirt to end in various lengths. This has been done all the way around you and the final effect this creates is beautiful. It is hard to imagine the length of time this all would have taken by hand.
• The dress closes with a back metal zipper and the belt buckles to close. The inner bodice is boned for structure and all the hand work is done to Couture standards. An inner waist stay hooks to close. The skirt is made from multiple layers of netting as described above. I see a tiny bit of wear near one grommet of the buckle, one tiny repair in the netting and a faint mark on the skirt. These are all extremely minor but mentioned for accuracy.
• There is no size tag present since it is true Couture so please go by the measurements below.
• Excellent condition.

Bust: 17.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 14.5" from top of shoulder to waist
Total length: 45" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED 

Item# DD5296

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

• This beautiful and rare coat is from the Fall 1952 Lanvin Collection.
• It was made under the creative direction of Antonio Castillo.
• True Couture examples from this era are extremely rare and this is a fantastic piece showcasing the Haute Couture work being done by the house of Lanvin during the years that Antonio Castillo headed the atelier.
• Castillo started off his career at the houses of Paquin and Piquet. He also did a stint designing accessories for Chanel. He quickly became known as one of the most promising designers to emerge after WWII and that reputation was part of why he was chosen in 1950 to become the head designer at the House of Lanvin. The press at the time lauded him, along with Balmain, Dior and Balenciaga, as the new generation of the Paris Couture designers. During his time at Lanvin the house was known for the simple and elegant lines.
• We found a reference photo of its near twin that was styled with a belt, dramatic gloves and matching hat added. It is very beautiful and the colour is exceptional.
• The coat would have been completely made by hand in the Paris atelier.
• This coat is beautifully tailored. The double row of buttons at the front and curving cut makes it feel as chic and wearable now as it was when first made.
• It is entirely finished by hand and has its numbered couture tape under the label. 
• It has a deceptively simple cut that hides the precise seams and masterfully tailored cut. It is constructed with the absolute minimal seam work to create the curves of the coat that you see.
• It is more fitted through the upper bodice and then skims over the waist and flares out slightly as it nears the hem.
• The collar is neat with a notched front and each sleeve ends in a turned up cuff.
• A half belt is attached at the back and you could add a belt over it to emphasize the shape even more.
• The fabric is amazing with a soft finish to it. I believe it is an Alpaca or perhaps a type of cashmere and it is extremely luxurious. The fact that it is dyed that amazing blue makes it that much more brilliant. It is even better in person and the fabric has to be seen and felt to truly be appreciated. This fabric choice allowed Castillo to be able to sculpt the exact shape that he desired.
• The front has detailed seaming that becomes part of the actual design and inside that is a double row of blue buttons that run down the front to the waist.
• You can wear this one open or do it up right to the neck like the reference photo.
• I love the sculptural effect the coat has once on and that beautifully full lower skirting. No shortcut was taken in the construction of this lovely coat and it is an outstanding piece of fashion history in every possible way.
• Fully lined in a hand set black silk taffeta and closes with the button down the front. Finished to Haute Couture standards and entirely done by hand. The Haute Couture numbered tape label is present under the main label and is numbered 15.418. 
• There is no size tag present because it is true Couture. Please go by the measurements list listed below.
• Excellent condition.

Sleeves: 22" and are 13" around the upper arm
Shoulders: 15.5"
Bust: 18.5" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: open
Length: 45" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4489

Reference Photo: Model in Lanvin, 1952.

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