The twin of this dress appears in the book on Thea Porter's work that accompanied the exhibit on her work. The photo appears on page 73. The caption in the book notes that "Claudia Bruce wearing a peasant style dress in a Persian paisley print combined with Damascus fabric and a leather and feather headdress. Greeks Street, London, 1969.". It is so rare to find runway photos of her shows and to have all this extra information is fantastic. 1969 is also an interesting year to note because it is the year that she started to sell her designs at Giorgio Beverly Hills. It was said that when word got out that Thea had new things in the Girorgio boutique, women ran to be able to get a piece for themselves, they sold out that fast. This is the only one I have ever seen like this outside of that book photo. Given her extremely limited run on certain pieces it may in fact be the only other one that was made and exists. It is truly a very special piece.

The dress is a fantastic combination of fabrics and this was something that Thea excelled at. She had the ability to source these fantastic antique fabrics and then mix and match them to put them together in a way that you had never seen done before. The front panel combines a floral and paisley print with beautiful detailing between. It runs down the front in a long rectangle shape and then she curved it over the shoulders and ran another panel of it down the back. The rest of the dress is made out of a clay coloured silk organza that has a beautiful pattern hand embroidered over its surface. A little chain of white embroidery runs through that pattern for a little bit of a pop. At the end of each sleeve there is an insert of the cotton fabric. This is set in a wide band all around the cuffs with these little points running up into the sleeve. The shape of the dress is easy and comfortable to wear. It skims over the body and flares out slightly as it reaches the hem. Slits run up each side so you get a flash of leg when you walk. Each sleeve is fantastic. Each is a full and voluminous balloon type sleeve that puffs up extravagantly around each wrist. The collar on the dress is perhaps the best part. A tie loops through the front part only and for most of the shots I have tied it enough so that it scoops like it does in the runway shot. However, you can loosen the front up and that allows you to push the dress down the shoulders to expose a full expanse of bare skin across the top of the shoulders. It is phenomenal. This is a very rare example of her work and most likely you will never see one again. Excellent condition.

Unlined and slips over the head to wear. The front collar can be adjusted with the tie as described above. Each cuff has a snap to close. It appears to have been worn very little if at all. There are little bits of blue dye on the front and back panel that looks like it has run a touch but I believe this is inherent to this fabric and this may have been like that since the day it was made. I do not think it is a flaw, but rather a result of the fact that the fabric was hand screened. Tagged a vintage Thea Porter UK 10. The easy cut should allow it to fit a range of sizes.

Sleeves: approx 15" and will come up a touch when the cuff is closed. Each upper arm is 13.75" around
Shoulders: no true defined scene
Bust: to 19" flat across from side seam to side seam
Waist: to 18" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Total length: 54.5" from top of shoulder to hem with 2" turned under the hem

Modern Sizing Equivalent: XS-SML

Item# DD4899

Reference Photos: Claudia Bruce for Thea Porter. Greek Street, London, 1969. (2) From the book Thea Porter: Bohemian Chic.

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.

I have had this tucked away in my archives for quite some time and it is spectacular. This is a gorgeous little skirt and halter top set that is a fabulous example of how unique her work could be. Of all of Thea's pieces are so special. Many were one-offs or were made in very limited quantities. She often thrifted and sourced odd bits of fabric and seemed to design with things that caught her fancy rather than have a solid theme season to season. Everyone who was anyone wore her work back in the day, including Elizabeth Taylor who was a huge fan and collector. This set is just spectacular and it is a very special piece.

These skirt and cropped top sets really showcase what the seventies flower power / hippie movement was all about. This set is especially fascinating with its screened wildlife covering both pieces and then the corresponding text that feels like it is from an encyclopedia explaining the different animals shown. The top is a simple halter type top that hooks into place behind the neck and then the bottom wraps and ties around you. When off the body you see that it is one elongated triangle with a strap that goes around the neck and then on each side the fabric extends out into long ties. I shot it with the ties at the back so you could get the full impact of the print on both pieces but you could also choose to wrap the ties to the front. The ties also lets you control how short or long it sits on the torso. You can wrap and roll the fabric so it sits higher or you can leave it where you see it in these photos. The skirt is equally as easy to wear. It has no band at the waist so that the text and photos printed on it are not broken up in anyway. It widens out dramatically to the hem from there. I took a photo of it laying out flat so you can see how wide the bottom hem ends up being. The fabric is a cotton that is a decent weight so that the shape is held. The combination of text and what looks like hand painted animals, but are actually screened into the fabric, is fantastic. It is gorgeous and I love that because it is two pieces you can mix and match it with other things in your existing wardrobe. This was almost certainly a one off and very rare. Excellent condition

Both the top and skirt are unlined. The top is as described above. The skirt zips to close. Both pieces appear to have been worn very little if at all.

Top
It is flexible in size since it wraps and ties and has coverage across the front. The front halter is 17" from side to side with no true side seams and is 13.25" long from neck to bottom.
Neck: 14" from end to end

Skirt
Waist: 12.5" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 41.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4898

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

This is one of two remarkable dresses that I have today that are absolutely insane to see in real life. Each is so very good and they are not even photoing half as good as either is in person. The sheer amount of hand work to apply those thousands of sequins, crystals and beads needs to be seen in person to truly appreciate. This is one of those pieces that really showcases the higher end work that the label was capable of. The dress is the work of Elinor Simmons who designed for the Malcolm Starr label from the early 1960s to 1972. She excelled at these early heavily embellished pieces that the label became known for and this is an outstanding example of that. It is even more amazing in person and the photos cannot convey the impact and presence it has. It is gorgeous

The fabric on this dress is gorgeous and you would never see its equivalent in modern fashion unless you are looking at a couture piece. The base fabric is a red silk brocade that has a heavy shot of gold metallic thread running through it that gives the dress its golden glow from shoulder to hem. The bodice skims over the bust and the neck is cut into a curving V at the front. The back also curves into a V and it dips lower for a bare expanse of skin to show. The waist is seamed and set a touch higher under the bust. From there the skirt falls to the floor and widens out as it nears the hem to perfectly balance the shape of the bodice. The simplicity of the shape is what allows the extraordinary detailing that sits on top of the brocade to shine. Onto the red and gold thread silk brocade are thousands upon thousands of tiny silver sequins, gold beads, glass tube beads, paillettes, and pink and red glass prong set crystals that have all been applied by hand. These cover every square inch of the dress and give the dress an incredible 3D feel and shine. The hand work was all done in the British crown colony of Hong Kong, which, during this period of time, was doing some of the best hand work on the planet. The dress has weight to it but it is balanced so perfectly that it is not too heavy once on the body. It just feels like you are wearing something of substance and beauty. The entire dress has a beautiful and subtle shimmer from every angle. I love it. It is just a beautiful dress that showcases just how good hand work and detailing can be. Excellent condition.

Fully interfaced in a red cotton muslin to hold the weight of the bead work and then lined in a silky rayon through the bodice and a red silk through the skirt. It zips to close at the back. It appears to have been worn very little if at all. I see the tiniest bit of grubbiness along the inner edge of one arm. Ribbon edged inner hem and hand finishes.

Bust: 18" flat across from side seam to side seam
Seam under the bust: 15" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: 11" from top of shoulder to the seam under the bust
Total length: 54" from top of shoulder to hem with about 3.25" turned under

Modern Sizing Equivalent: SML-MED

Item# DD4867

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

This is one of two remarkable dresses that I have today that are absolutely insane to see in real life. Each is so very good and they are not even photoing half as good as either is in person. The weight and sheer amount of hand work to apply those thousands of sequins, crystals and beads needs to be seen in person to truly appreciate. This is one of those pieces that really showcases the higher end work that the label was capable of. The dress is the work of Elinor Simmons who designed for the Malcolm Starr label from the early 1960s to 1972. She excelled at these early heavily embellished pieces that the label became known for and this is an outstanding example of her work. It is even more amazing in person and the photos cannot convey the impact and presence it has.

I think that this might be the best Malcolm Starr dress that I have ever seen in real life. If the other one is great, this one is even a bit beyond that. The base is a gold thread lame fabric that is one solid gold colour. Onto this are thousands of cut out paillettes in a brilliant pink, pale sea foam and bright royal blue. These are mixed with pale pink and soft mint & silver sequins. There are gold beads and sequins, and then a heavy dose of green, blue and deep pink glass prong set crystal rhinestones. I don't think I have ever seen anything quite so elaborate and brilliant. The mix of all of these is astonishing to see. The intricate pattern covers every square inch of the dress and give the dress an incredible 3D feel and shine. The hand work was all done in the British crown colony of Hong Kong, which, during this period of time period was doing some of the best hand work on the planet. The fabric on this dress is gorgeous and you would never see its equivalent in modern fashion unless you are looking at a couture piece. The dress has weight to it but it is balanced so perfectly that it is not too heavy once on the body. It just feels like you are wearing something of substance and beauty. The bodice skims over the torso and the neck is cut into a low V at the front that ends just above the heavily embellished waist 2" band. The band is heavily embellished with more of the bead work, but here it is set horizontally, so that it wraps around the waist. The skirt falls to the floor and widens out quite a bit as it nears the hem to perfectly balance that shape of the bodice. I love how the entire dress glimmers in the light. It is a work of art and I have never seen another one like it. Excellent condition.

Fully interlined in a pale ivory cotton muslin to help support the weight of the dress and then it is lined in a pale ivory silk. It zips to close at the back. It appears to have been worn very little if at all. Hand finishes throughout. Tagged a vintage Malcolm Starr 10. Note that there is no colour change in the dress. If the gold looks like it changes in hue any of the photos it is because of the lighting.

Bust: 16.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Bodice: 12" from top of the shoulder to the top of the 2" band at the waist 
Total length: 56" from top of the shoulder to hem with 2" turned under

Modern Sizing Equivalent: XS-SML

Item# DD4869

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

Bill Blass became the head designer at Maurice Rentner in 1959 and soon after that his name started to appear on the labels. In 1970 he bought out the Maurice Rentner label and re-launched it under his own name. These Bill Blass for Maurice Rentner pieces are some of his earliest and you will find many of them, like the twin of this coat, in museum collections throughout the world. A version of the coat was also shot on Verushka that year. It is amazing. 

This is the second time that I have had one of these Bill Blass coats in the shop. The base of the coat is a dark brown velvet that gives the jacket a rich opulent feel. Onto the velvet is an intricate hand done design in a muted silver thread. I love how the silver subtly catches the light from every angle. There is piped and padded detailing added to the collar, the end of each cuff and down the front of the coat. The padding also continues all the way around the hem. This added detail is not just a pretty finish to the design it also structurally helps to hold the shape of the coat. The shoulders are shaped but soft. The sleeves are slightly cropped and each is cut wide and full. It closes down the front with a series of hidden snaps  and the simplicity of design that this gives the coat is what allows that beautiful fabric to take centre stage. Rows of silver tube beads are set in a braided pattern edge all of the piped parts of the coat for the perfect final detailing. It is a beautiful vintage piece. Excellent condition with a minor note below.

Fully lined in a matching brown cotton and closes at the front with silk covered hand set hidden snaps. Pockets along the seam on each hip. Hand finished throughout. I see some light wear on some of the silk covering of the snaps. It otherwise appears to have been worn very little if at all.

Sleeves: 19" and is 14" around the upper arm
Slightly inset shoulders: 14"
Bust: 19.5" flat across from side seam to side seam
Waist: 17.5" flat across from side seam to side seam
Hips: 22" flat across from side seam to side seam
Length: 39" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD4864

Reference Photo: (1) 1968 Bill Blass coat from the Indianapolis Museum of Art Collection.  /  (2) Veruschka in Bill Blass, Vogue, September 1968.

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

Bellville et Cie was founded in 1953 by Belinda Bellville who later launched the Bellville Sassoon label in 1970 with David Sassoon. When the label was originally launched it was as a couture house and pieces were produced one at a time and by hand for Belinda's clients. It became the go to label for London society and in 1970 David was brought on to help Belinda meet the demand for dresses that she has created and move into ready to wear as well. The label found worldwide fame after Princess Diana became a client. The original label for the brand in those first early years when it was just Belinda creating each dress in her small couture atelier was Belleville et Cie as you see in this dress. It is a very rare label to find. 

The dress is spectacular. It is made out of a silk ivory net that has a little pink chiffon swirls that have been attached by hand and cover the surface of the entire dress. Holding each little pink bit of silk in place is a cluster of beads that are set to dangle off of the dress. This creates a beautiful 3D effect over the entire dress. The neckline angles down into a V and the edge of the neckline are finished with an band of that same pink silk chiffon. The top net layer of the bodice is set over the inner lining so that it sits out and slightly over the pink silk satin ribbon that runs around the waist. The ribbon is attached and adds definition and adds a little detail around the waist. The skirt falls to the floor and gently widens out as it nears the hem. The back of the skirt is cut slightly longer than the front and there is a touch more fabric there so you get a beautiful sweeping field as you move. The volume of the skirt is held by the several layers of tulle underneath that sits between the netting and the inner lining. At the back it dips down into a V for a little bit of skin to show there. It is an extraordinarily well made and wonderfully beautiful dress. Excellent condition with a minor note below.

The dress is fully lined in an ivory silk and there are built in underskirts through the skirt. It closes with a back painted metal zipper and the belt hooks into place at the back over that. The net of the bodice snaps into place over the inner zipper. There are some very faint marks along one side of the skirt and perhaps a very faint spot here and there on the skirt, but nothing outstanding. Please see the photo after the label shot. Made to Couture standards and completely made by hand. I have added some detail shots that include one of the hand done inner seams.

Bust: to 19" flat across from side seam to side seam
Waist: to 13.5" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Bodice: 13" from top of shoulder to top of band at the waist
Total length: 60" from top of shoulder to front hem, 61" to the back 

Modern Sizing Equivalent: SML-MED

Item# DD4859

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.

In 1951 a 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 absolutely gorgeous.

This is a dress that is extremely well made with a very high level of construction techniques. That alone makes it a fabulous piece for me. The dress is made from two types of lace that give the dress its beautiful tactile feel. Everything about the cut is done to highlight and showcase those wonderful sculptural lines that the dress has. The dress falls from lace straps that curve up and over each shoulder. It dips down at the front and the back is scooped to leave a bare expanse of skin. It skims over the bust to the slight empire cut waist. The waist is generous and the lines of the dress are stunning. The bodice is covered with a beautiful black lace with a second layer of lace on top of the nude silk lining underneath so you get a little bit of extra depth to the pattern that you see. The skirt is made out of a heavy corded silk lace. The cording is also a clever way to help to shape the skirt so beautifully. The skirt curves out and over the hips and then widens out to the hem. The top lace layer sits over a deep green silk inner skirt. Having the deep moss green underneath highlights the cord and lace more than adding just a black under skirt would have. It is genius. The silk underneath also helps to hold the fuller shape the skirt has. The shape was all created by clever seaming and cut and it is so much better in person it is ridiculous. He is a designer who cut for the body, not the hanger or a dress form. His work only truly comes to life once on. The workmanship on this dress is exquisite and to demi-couture standards. Excellent condition.

Lined in a nude silk through the bodice and the inner piece of the skirt is backed in a black silk organza. It closes with a back zipper. Hand finishes throughout.

Bust: 16-17" flat across from side seam to side seam
Seam under the bust: 15.5" across
Hips: open
Bodice: 12.5" from top of shoulder to seam under the bust
Total length: 52" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4843

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.

Philippe Venet apprenticed to a local tailor who is authorized to make Balenciaga designs. In 1951 he moved to Paris and became a cutter to Schaparelli. From there he met Hubert de Givenchy and in 1962 joined his atelier where he was the head cutter. In 1964 he opened his own Haute Couture label with Givenchy's blessings and support. His work tended towards minimalism and clean lines. His business was never as large as Givenchy's which allowed him to be more hands on for a longer period of time. Couture pieces from him are rare and hard to find and the early were ones like this even more so. This was almost certainly a piece custom-made for somebody and it is incredibly beautiful.

The dress is amazing and showcases how wonderful a piece of true Haute Couture can be. It is made entirely by hand and the silk is that beautiful rich silk that you only seem to see in the very best pieces of couture. The dress wraps over an inner dress and this added inner structure keep the dress perfectly in place and also gives it the structure needed so that the outer layer falls perfectly over you. The bodice is cut into a V and it wraps, snaps and hooks into place. I love the way that he has brought in angled seaming and pleating to create the design that you see at the base of the plunge. On the panel that sits underneath the wrap everything is angled towards the centre of the dress and then the panel that sits over the wrap is set so that the pleats fall vertically all the way down to the hem. The hem is set on a curve that goes up at the front and around at the back. So when you walk you get a flash of bare legs. The back is cut longer and depending on your height you will have a bit of a sweeping behind you. The cut also gives you some pretty fullness and shape through the hips. At the back the seams are set vertically so that you just get one long swoop of fabric that extends out as touch at the bottom hem. There are even weights placed inside of the back so that it sits perfectly once on. Underneath this is a structured foundation piece. It has a structured corset top with boning and shaped cups in an ivory silk. The skirt is made of the same silk as the exterior and it is cut to just about the knee depending on your height. All of the inner seams are finished completely by hand and seeing how it is all piece together is a joy in itself.  The colour of the silk is a beautiful creamy ivory. This is a brilliant dress and when you see it in person you will fall in love with how good it is. It really shows how sometimes simplicity can have so much of an impact. It would be a dress that might make an amazing wedding dress for the bride looking for a non-traditional choice, for a day wedding, or as an alternative dress in a more extended wedding celebration. Excellent condition with a minor note below

The inner dress acts as the lining and then the outer dress is also fully lined in an ivory silk. All the work is done by hand to Haute Couture standards. The inner dress closes with a hand set side zipper at the front. The outer dress snaps into place directly onto the inner dress and then the outer dress wraps and snapped onto itself. The zipper on the inner dress was slightly moved at some point but of course you don't see this once on. I have included a photo in the detail shots. I see a tiny hairline mark of thinning near the neckline and some wear to the edges of the top of the seams. Please see the photos after the label shot. Completely made by hand. Proper Haute Couture numbered label present. 

Outer Dress
Bust: 17.5" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Total length: 57" from top of shoulder to longest point of the back hem

Inner dress
Bust: 15.5" flat across from side seam to side seam
Waist: 12.25" flat across from side seam to side seam
Hips: 17.25" flat across from side seam to side seam
Bodice: 15" from top of shoulder to waist
Total length: 38" from top of shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD4779

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.

I love when I find these earlier examples of Oscar de la Renta's work. He would heave been more personally involved in them and they really showcase the designer he was to become. The label on this dress tells us that it's probably late 60s maybe the first couple years of the 1970s and it seems similar to some of the pieces I've seen from the 1970 season. The dress beautifully showcases the the genius of his work and attention to detail. This is a favourite from him that I've had in the shop

The dress is gorgeous and is made from a beautiful black silk taffeta that holds the shape and volume that this dress has perfectly. The fabric choice also keeps the dress fairly light in weight while giving the dress some structure and shape. The front bodice is stunning. Two shaped triangles cover the front of the bodice, and there is a deep V for the neckline. The triangles extend all the way to the top of the neck and they are finished with a ruffle in the same fabric. This makes that V be a little less apparent and is a pretty detailing as it goes up and around your neck. Ties extend from just behind the peak of each triangle to tie behind the neck. It wraps around the waist and scoops low there. This leaves your entire back open and bare above that. I love this unexpected bare skin moment that is in stark contrast to the coverage at the front. The waist nips in and we have added a wide grosgrain ribbon to add a little more shape. The skirt deserves it own moment. It is made out of the same silk taffeta as the bodice. It explodes out from the waist to become incredibly full by the time it reaches the hem. Tiers of silk allow this expansion and there are five tiers in total. Each tier is finished with that same ruffled detail that you see around the halter neck and this really makes the dress special. Inside there is a silk lining and then another netted lining sits between the outer skirt and that inner layer. This helps to hold the volume that you see and it is spectacular. The photos on the dress form do not come close to doing it justice. This is a dress that needs an actual body in it and then it really comes to life. When you walk the taffeta rustles and the skirt swoops around to create this stunning billowing effect. Then when you turn to leave you have that flash of bare skin at the back. It is utterly amazing. Excellent condition

Fully lined in a layer of silk taffeta and the skirt is lined as described above. The dress closes with a low set zipper at the back. Hand finished throughout. The ribbon at the waist is not original to the dress but will be sent with it

Bust: each triangle covers 8 inches plus there's an inch and a half a ruffle on each side. There's no true side scene.
Waist: 12.5-13.5" flat across from side seam to side seam
Hips: open
Bodice: approx 15" from top of shoulder to waist
Total length: 59" from neck to hem and can be adjusted a bit depending on were you tie the neck

Modern Sizing Equivalent: SML-MED

Item# DD4633

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.

Gina Fratini created some of the most sought after evening wear in the 1970s and into the 80s. Elizabeth Taylor chose to wear one of her dresses for her second marriage to Richard Burton in 1975 and Princess Diana made several appearances wearing her work. Fratini was a British fashion and costume designer whose label existed from 1964 into the eighties. She was also known for dressing Princess Anne, who wore a Fratini gown for her 21st birthday portrait. She did freelance work for Normal Norell and designed the Ossie Clark lingerie line. She won the Dress of the Year award in 1974. She as known for her use of natural fabrics and her dresses were complicated affairs that were not easy to reproduce, which gave her designs an edge in exclusivity.

More than anything I love the feather detailing on this dress and that gorgeous print. They take the dress to the next level and the details on this dress are truly spectacular. The dress is made out of a beautiful silk organza that has been treated so that it has a slight stiffened effect. Printed onto the silk is a gorgeous design that combines flowers, birds, hands and faces. The backdrop is the softest blush nude pink and the print is done in soft pastels. It is so pretty. The top of the dress is stunning. It has a high scooped neck that is finished with a ruffled collar. It skims over the bust and then is seamed right under the breasts for a baby doll feel. The sleeves are shaped into a puffed cap. They are set so that they curve over the top your arm and puff out around the shoulder. The skirt falls to the floor from under the high set empire wast and it is phenomenal in its cut. It falls in three tiers of silk and each tier expands outwards getting wider and fuller as the dress falls to the floor. This floats over and inner pale peach lining that is also set in tiers and it is absolutely gorgeous. I love the silhouette this creates. It is spectacular. The final touch are the feathers that are scattered over the entire dress. Each feather has been hand dyed to a pastel pink, blue or green and they are each attached to the end of a piped ribbons of the same fabric that is attached to the dress. They are set a different lengths so that they dangle off of the dress from the seams where each tier is attached at a seam. This creates incredible movement as the dress moves around you and then the feathers attached to the strips of fabric move as well. Each sleeve has a longer panel of the silk tied into a bow with a feather at each end The organza keeps it light and easy to wear while the cut and design are phenomenal. This is a truly amazing vintage piece. Excellent overall condition wit a note below

The bodice and skirt are lined in a peach silky rayon and the sleeves are unlined. It closes at the back with a painted metal zipper. There is the tiniest of discoloration under the arms and I see that has been reinforced around the inner arm edges with invisible mending tape from the back. Presents perfectly once on

Sleeves: 12" around the arm opening
Inset shoulders: 13.5"
Bust: 16" flat across from side seam to side seam
Seam under the bust: 16" flat across from side seam to side seam
Hips: open
Bodice: 9" from neck to empire seam under the bust
Total length: 56.5" from shoulder to hem

Modern Sizing Equivalent: XXS-XS

Item# DD4613

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.

Donald Brooks launched his label in late 1963 with a collection for the Spring 1964 season after an already successful start as a costumier for Hollywood. He quickly became one of the most sought after of the American designers and his clients included Jaqueline Kennedy, Claudette Colbert and Faye Dunaway. The New York Times said that he was one of 'the three B's of fashion' alongside Bill Blass and Geoffrey Beene. He helped to launch the American Council of Fashion Designers and won three Cody Awards over the course of his career. He launched a secondary boutique line in 1971 all while also designing costumes for Movie and Television. He eventually closed his label to concentrate on costume work and only designed for the occasional private client. This is a gorgeous example of his work from his main made to order label. 

I love this dress. The dress is made from a black wool crepe that is cut loose and easy through the body. It has an inner built in bodice that holds it perfectly in place and then the crepe just falls over that. This gives you that fantastic floating sensation all around you with your slightest move. The dress is suspended from straps that curve up and over the shoulder. Everything about the dress is done as simply as possible and this is all deliberate so that the bodice can shine. The bodice has a heavy embellishment of little steel beads mixed with a variety of prong set crystal rhinestones in different shapes and sizes. These catch the light beautifully. The rhinestones form flowers within the designs and I love how he used bigger stones so it has this fantastic 3D effect. The embellishments go across the entire back to create a wide panel and then wrap to the front where they curve up to leave a space between them at the centre. The top of the bust is cut straight across all the way around and then under that the dress cascades to the floor. It widens out as it nears the hem and has an easy-to-wear feel to it. It is very flattering on the body and it creates a fantastically dramatic effect as the dress floats around you. It is amazing and it has pockets on each hip. This is a truly stunning dress. Excellent condition

Fully lined in a black silk and closes with a back zipper. There is an inner boned structure that hooks to close with a series of lingerie hooks up the back. Pockets along the seam of each hip. Tagged a vintage 8. I see a couple of tiny areas of thinning near the hem but am being pretty picky. Please see the photo after the label shot. You could add to the inner waist to get more room if needed 

Bust: 15-16" flat across from side seam to side seam
Inner waist: 12-13" flat across from side seam to side seam
Hips: to 23 " flat across from side seam to side seam
Total length: 57" from top of shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD4591

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

The Andre Laug label launched in 1968 in Rome. Laug was one of the grand Italian Couturiers who would now be considered to have designed "Alta Moda" the Italian equivalent of Haute Couture. He apprenticed under Nina Ricci and was the designer behind the first "Mademoiselle Ricci" collection in the summer of 1961. From there he freelanced, working for both Philip Venet and Andre Courreges. His clients included Audrey Hepburn, Jacqueline Kennedy, Diana Ross and countless others.This dress is all done by hand couture tags and based on its style most likely dates to those first early years. It is gorgeous.

Modern Sizing Equivalent: XS- SML

Item# DD4514

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

This is an incredible set that is extra special because it is from the debut Haute Couture collection of Marc Bohan. It has the added province of being documented which is sometimes not easy to find with these very early pieces. The book Dior, Catwalk talks about the reaction to this first collection by Bohan; "Thundering applause, led by the Duchess of Windsor, rolled through the elegant grey and white salons of the House of Dior, the happy ending to the suspense story of the fashion year. At stake was the future dominance of Dior, and the career of designer Mark Bohan. The Chicago Tribune hailed him as being "Mister Dior, the third". The New York Times stated "the shouting, clapping, surging mob at the press show cause chaos in the elegant salon. Bohan was pushed up against the boiserie, kissed, mauled and congratulated. Chairs were toppled. Champagne glasses were broken. People were knocked down. It was a complete triumph for the designer". The book goes on to state that; Bohan called the collection the "Slim Line". It was a streamlined take on the original "New Look". He revisited the day suit with wide cut jackets and low waisted flared skirts fitted at the hips. The Times declared it "a success from the appearance of the first model and worthy in the tradition of the great maestro himself. And Women's Wear Daily wrote three months after the collection was shown that "the Bohan flare is everywhere. Bohan has done the impossible. He is a big commercial success and respected by the fashion intellect." 

The set is exceptional and is an excellent investment piece as well. Dior prices continue to skyrocket and finding couture examples like this from such an important collection and in this condition is getting harder and harder. 

This suit is fantastic. It is actually two pieces. A flared skirt and then a top / jacket that goes over that. The top is fascinating in the way that it is cut and we were very happy to find and see in the reference photo of it that its construction is deliberate. The front only buttons at the bottom and then there is a snap just above that button to hold it closed. It is meant to stay open above that and the button holes that you see continuing up along the edge of the jacket are actually faux. They do not open all the way through. You can see in the photo that the model is wearing it the way that it's meant to be worn. The very bottom is closed and then she has a light top on underneath. This lets the jacket play on its volume that it has. You could certainly open the fabric and finish the buttonholes if you wish to wear it fully closed, but it is meant to be like this. The jacket has a lot of volume and is meant to skim over you and then the skirt is cut in a sleek little flare that skims over the hips and flares out with a series of flat pleats all the way around the skirt. Around the waist the silk lies flat and neat. It is very flattering once on the body. When you stand still the skirt lays flat and smooth but when you move you get an incredible burst of movement and volume. Over that goes the jacket with its wonderful to the elbow wide cut sleeves and oversized MOP buttons down the front. The shoulders are soft and there is no collar. The fabric is a very high end silk twill dyed to that pale tan mixed with white. Both pieces are entirely finished by hand to Haute Couture standards and I've shown some of the detailing inside. It is chic and elegant yet still feels edgy. An amazing find. Excellent condition

The jacket is lined in a fine silk in the same colour as the exterior tan and the skirt is interlined in a white silk organza. The jacket closes with the bottom button only and a hidden snap above that as described above. The skirt closes with hook & eye at the waist and hidden snaps below that.  Completely done by hand to Haute Couture Standards. Proper numbered couture label in place on the jacket. There are some natural, variations and lines in the silk that is inherent to this type of fabric and should not be considered a flaw. It is in remarkable condition.

Jacket
Slightly dropped shoulders: 16-17"
Bust: to 21" flat across from side seam to side seam
Bottom hem: 19" flat across from side seam to side seam
Length: 24.5" from neck to hem

Skirt
Waist: 13" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 27" from waist to hem with 2" turned under the hem

Modern Sizing Equivalent: SML-MED

Item# DD4484

Reference Photo: Christian Dior Haute Couture Printemps-Ete 1961. Photo Emerick Bronson. Model Nicole de Lamargé.

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.

Norman Norell was one of the great American designers. His clothes were wildly expensive in their day and he was credited for the unique ability to translate Paris couture into American ready-to-wear. He started in the film industry and then was hired by Hattie Carnegie. In 1941 he left and and joined Anthony Traina where the Traina-Norell label soon appeared. Upon Traina's retirement in 1960 he launched his own self-named label. He won the very first Coty American Fashion Critics' award ever given in 1943 and then won it again in 1951. In 1956 he became the first designer to earn a place in the Coty Hall of Fame. His signature styles for day ran the gamut from shirtwaists, suits, beautifully tailored coats and clothes that seemed simple at first glance but were logistically complex. Norman himself once said 'To qualify as a designer one should not be afraid to repeat a good design, and certainly must have his own signature'. He achieved that and more. I think every serious vintage collector should have a piece of his work in their archives.

The suit is a marvel of construction and is in wonderful condition. It is simple in appearance but this really hides the masterful cut and tailoring of it. The jacket is tailored with a sleek cut. It has a lovely little wide pointed collar. Four pockets are top set on the front. All four are functional and Iove the little nod to a military piece it gives it. The shoulders have the lightest of padding just to create and hold their shape. The deep brown light weight suiting wool it is made out of has enough weight that it holds the lines perfectly once it is on. It has its original belt to cinch in the waist of the jacket and add shape or you can wear it without for a more boxy feel. Each sleeve is long and straight and ends in a proper three button cuff and each button works and has a proper couture button hole. It really is incredible made. The skirt is fabulous. It is a true flaring A-line and that is what lets is fall so beautifully as you can see in the photos. The waist is banded and besides the amazing shape of it is has been kept simple to accommodate the belting of the jacket over it. There are pockets hidden along each hip. Once on, the suit transforms and you can see how beautiful the lines are and this would be even better on an actual person. His suits changed the way we approach woman's wear and this particular one is a particularly wonderful example of how strong his tailoring and lines were. This one is also a little extra special because it has a handwritten tag inside with the name Deborah what looks like the number 604. A mystery as to whether that was a sample or perhaps the runway model or a client tag but it's always nice to see these extra touches in a vintage piece. Excellent condition with a minor note below

Both pieces have a hand set lining in a deep brown silk. The jacket has a three buttons at the front and three buttons on each cuff. All proper buttonholes. The skirt has a zipper and hook & eye at the waist. Two top set pockets on the breast of the jacket and two on each hip. The slip belt is stamped. Hand finished throughout. The backing on the belt is starting to go and that coating sheds just a touch. The front is fine.

Jacket
Sleeves: 24"
Shoulders: 14"
Bust: to 17.5" flat across from side seam to side seam
Waist: to 15.5" flat across from side seam to side seam
Hips: to 18.5" flat across from side seam to side seam
Length: 23" from neck to hem

Skirt
Waist: 12" flat across from side seam to side seam
Hips: open
Length: 23" from waist to hem with his signature 5" deep turn under at the hem

Modern Sizing Equivalent: XS-SML

Item# DD4455

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.