The book 'Givenchy Catwalk' says of this collection that "the new collection was heavily influenced by the fashions of the 1940s and was the height of sophistication." Several pieces walked the runway that season that had these Trompe L'oeil ribbons adorning their silk surfaces. The book notes that "the exclusive bow and ribbon prints on some day wear outfits reference the motif that had made Elsa Schiaparelli's name in 1927, but it was after dark that these features truly came into their own. In the evening were large ribbons tied into bows or loosely draped, decorating the bust like a tie or nipped in the skirts of extravagant colourful designs." This dress, or a very near version of it, was shown on the runway under a white jacket nipped in at the waist. We have also included a photo from the book that shows some of the other designs from that season that featured these sequin bows as well. It is a beautiful piece.

Modern Sizing Equivalent: XS-SML

Item# DD4870

Reference Photos: (1) Spring 1979 Givenchy Haute Couture.  /  (2) Spring 1979 Givenchy Haute Couture Looks from the book "Givenchy Catwalk: The Complete Collections" by Anders Christian Madsen.

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 jacket is from the debut solo collection of Bill Gibb for the Fall 1972. In the book, Bill Gibb: Fashion and Fantasy, they note that the theme of the collection was the natural world and you can see that in this suit. The book quotes fashion journalist, Suzy Menkes saying that "this is Bill Gibbs great day... for the first time showing a collection all his own. It marks the beginning of his career as a designer of the jet set." Twiggy said to Gibbs backstage "they were incredible, I loved every one, I want them all... is it possible to have one to wear tonight?". At this moment in Bill Gibbs history he was the star of fashion set. The jacket is spectacular and I love that versions are held in the permanent collection of museums. We also included several references where this or similar pieces were shot that season.

The jacket has an incredible cut to it. The collar is exaggerated and wide. The sleeves are amazing. They are full with a slight cap at the top of the shoulder and then narrow down to the wrist. The cuffs have a small split up the middle and are held closed with a metal button. The jacket has a seam set just above the natural waistline and it buttons to close above that with flower embossed silver metal buttons. Vertical panels sit all the way around the bodice from front to back. Silver painted chrysanthemums sit on either side of the buttons and a double panel of the same runs down the back. On each side of the bodice is a bee done in the same muted silver paint on brown leather and these have been cut out and applied onto the jacket. There are four of these in total, two at the front and two at the back. The bee went on to become one of his signatures. Those painted designs were all done by Sally MacLachlan. The lower part of the jacket is equally as fabulous. It skims over the hips to flare out to be quite full by the time it reaches the hem. There are eight panels of leather that have been sewn together. Each panel was painted with trailing vines of flowers running down their lengths. And there are pockets at the front! It is fantastic. Presents as excellent condition with a couple of small notes below.

Fully lined in a light taupe silky rayon. The jacket buttons to close at the front. Hand finishes. The leather of the jacket has a slight stiffened feel, that all of these particular jackets seem to have as they age. There is some slight wear and scuffing to the edges here and there and on the top of one shoulder. There is minor wear and marks on the lining. Three of the front button loops have been reattached at one of their ends. The jacket was cleaned but there is still a slight vintage smell to it. Priced with all taken into consideration balanced with its rarity. It is an incredible collectors piece. Tagged a vintage UK 10

Sleeves: approx 23.5" and 16" around the upper arm
Inset shoulders: 12"
Bust: approx 186" flat across from side seam to side seam
Waist at seam: 18" flat across from side seam to side seam
Hips: open
Length: 42" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD4866

Reference Photos: (1) 1972 Bill Gibb Coat in the V&A Collection.  /  (2) Bill Gibb Coat in the Collection at MUDE - Museu do Design e da Moda.  /  (3) Models in clothing by Bill Gibb, The Daily Telegraph, December 1972.  /  (4) Model in Bill Gibb for Vogue, September 1972.  /  (5) The Cover of "Bill Gibb: Fashion and Fantasy" by Iain Webb.  /  (6) Vogue, September 1972.

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.

Loris Azzaro launched his label in 1967 and quickly defined his trademark looks by his avant garde way of defining the body. His work was shockingly sexy for the times. 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. The label 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 during the mid-seventies. When researching we found several examples of dresses from 1973 that combined the same jagged flame cuts with sequins. I have included some of those so you can get an idea of how great this looks on the body. 

This is a gorgeous dress and it is a dress that will really come to life once on an actual body. The body of the dress is covered with densely applied black sequins. They make the dress shimmer beautifully as they catch the light. The sequins start at the shoulder run down the sleeves, over the bodice, waist and hips and then stop about mid-thigh depending on your height. The skirt is set into the sequins in pointed angled that reflects the points of the hem. The skirt part is made from 12 individual panels that are set side by side all the way around. Each panel is a single layer of black silk chiffon that is incredibly light in weight. When you move they move around you. Each panel has only been attached at the top so you also get glimpses of your legs between each panel as you move. It is incredibly sexy. The same silk chiffon is set into the upper bodice and then the back has a huge cut out that is filled with the silk chiffon that dips into a low scoop. It buttons down the back can you see a hint of skin between each button. I love the pointed finished all around the scoop at the back. It is fantastic once on. Excellent condition

Fully lined through the body in a black silk. It closes with buttons down the back and each sleeve has a zipper at the wrist. One of his signature strapless bras is attached inside the bodice which could be easily removed if you wish.

Sleeves: 23" and are 12" around the upper arm
Shoulders: no defined seam
Bust: 16-18" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: to 19.5" flat across from side seam to side seam
Length: 59" from top of shoulder to the longest point of hem

Modern Sizing Equivalent: SML-MED

Item# DD4347

Reference Photos: (1-3) Marisa Berenson in a Loris Azzaro. October 1973. Photo: Michael Holtz.   /   (4) The cover of the book "Azzaro" for Assouline - Marisa Berenson and Loris Azzaro photographed in 1973, for issue 604 of L'Officiel de la Couture et de la Mode de Paris, by Roland Bianchini.  /  (5) Image from the book "Azzaro: Fifty Sparkling Years"  /  (6) Magazine spread featuring a model in Azzaro, 1973.

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

This dress is from the Spring 1977 Bill Gibb collection. In the book, 'Bill Gibb: Fashion and Fantasy' they quote him as saying "for next season, I am going to do semi-sport, separates like a little boy with shorts, something I've never done before... women want to get into pretty clothes" It goes on to describe the invitation for the show as 'a barefooted girl, wearing a simple empire line dress in a garden, surrounded by a garland of flowers' and of the show itself...'Gibb presented one of his most delicate looking collections, combining his cute boyish styles with pastoral illusions… embroidered cheesecloth and broderie anglaise. Even though he called this his flowers and lace collection, Gibbs discerning eye insured the look never became two sugary sweet by punctuating the collection with splashes of black. He said "I like a dress to have great richness. There are many ways to do this like a black cat printed on the hem of a starkly white dress, or I use black and white next to a coloured pattern fabric... It is incredibly effective". We are also very pleased to have found a photo of the dress on the runway. It is an incredibly rare and gorgeous little dress.

Bill Gibb is one of my favourite designers and I am always extremely pleased to be able offer an item from him as they are very hard to find. The really good ones especially, never mind when one is documented like this one is. It is also a gorgeous dress in its own right. I love that this showcases exactly what he said above about using black as a means to contrast and add "richness". It is a dress that in someways is simple but it has huge impact. The halter is made out of a black silk that has a pink ribbon defining all of the seams and edges. The ribbon extends out from the side of the bust to curve up and over your shoulder attaching at the edge at the back. Where the front scoops down into a V ribbon also extends out from there and these ones tie behind the back so that the ends trail down against your bare skin. Using the ribbon to define the seams visually creates six panels around you. Each of those has been hand detailed with tiny silver pink beading, opaque white beads and pink embroidery to form little flowers to perfectly fit into the theme of the collection. It is the prettiest detailing. The halter falls into a V at the front and then the ribbons cross over themselves and there is a open keyhole under that to the waist. At the back, the vertical edges sit several inches apart from each other to add even more to the bare and open feeling it has. The skirt is equally as amazing. It is made out of a white cotton inner skirt and then has an attached over skirt that does not fully meet at the front. The interior skirt is finished with a wide layer of cotton lace at the hem and then the attached top layer starts with a ruffle at the waist. It has five more layers of ruffles as it travels to the hem. The skirt is incredibly full. An interesting little detail is that the inner skirt has pockets and this allows you to put your hands into those pockets and hold the outer skirt away to the sides. This will give you more of the feel that you see on the runway photo. This is an extraordinary little piece and could not be more rare. Excellent condition.

The inner skirt acts as the lining and the halter is lined in an ivory silky rayon. It closes with the tie at the back of the neck and then hook at the back of the waist and has a zipper below that. Pockets on the inner skirt. Sized a vintage Bill Gibb UK 10. 

Bust: 15-16" flat across from side seam to side seam
Waist: 12-12.5" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of shoulder to top of the band at the waist
Total length: 48" from top of shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD4850

Reference Photos: Spring 1977 Bill Gibb.

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.

Thea Porter combined exoticism, embellished ornamentation and luxurious fabrics in her pieces and her work was a phenomenon during her day. This style of dress is one of her most well known dresses and it has been one of her most loved styles since it was first created in 1968. The Thea Porter book that accompanied the 2015 Fashion and Textile Museum exhibit "Thea Porter 70s Bohemian Chic" (for which over a dozen pieces were pulled from my archives) has many example of stars from that time period wearing their versions. Kate Moss is perhaps the most notable of modern girls who have one and she caused a sensation when she wore her blue version for her wedding rehearsal in 2011. This is almost certainly a one of a kind, or a version of very few that would have been made. These dresses were made between 1969 up to about 1975 and we've included some various reference photos of similar pieces so you can get an idea of how gorgeous it is on the body.

This would make a phenomenal dress for the bride, looking for something nontraditional or as a part of a wedding weekend and of course it would be a stand-out piece in any Thea Porter collection.

The Thea Porter book states that this style of dress were 'generally made out of a combination of three different fabrics, which give it an enduring variety. If the skirt was in plain cloth cotton, the bodice was usually in brocade… We made the dress in every conceivable fabric, from embroidered chiffon to liberty cotton‘s to velvet…. The silhouette of a slimmer torso combined with a full skirt (composed of 4.5 m of fabric) and sleeves became the basis for Porter‘s 'gypsy or gipsy' dress'. (note that this is historically what the dress was called at the time and is mentioned for historical accuracy). The book goes on to talk about the cut and design of these dresses saying that 'the bust became an integrated part of the body, ending directly below the breasts to create an empire line. The cut is such that the bust is held in securely, yet pushed up, removing the necessity of wearing a bra. The uneven hem of the dress evolved as a form of collaboration between Thea and one of her first seamstresses, Meg Lake, who was self taught and didn’t realize that a circle of fabric cut on the bias would fall irregularly and need to be trimmed. Porter love that effect and the mistake became a design signature.'

This is a classic Thea dress that follows all of those design philosophies. The bodice of her dresses were often crafted in antique brocade or silks and I suspect that is what we are seeing that with the beautiful and delicate gold metal thread on a feather like silk organza that we see on this front and back of the bodice on the dress. I love the little piece of silk chiffon that sits at the top of each shoulder and has the little embroidered 3D rose there. An ivory velvet ribbon details the cut of the bodice and also defines the highly detailed wide band around the waist. The sleeves are a single layer of an ivory silk chiffon and have a touch of transparency to them. They are magnificently full and each one puffs out above an elastic cuff. A little velvet bow and another embroidered 3D flower sit on the end of each sleeve. The skirt is two layers, an inner silk layer that is cut on the bias and then floating over that is a bias cut of the same ivory silk organza that the sleeves are made out of. The silk of the skirt starts just under the wide band at the waist and it flares out in yards of silk. It has that perfectly imperfect asymmetrical hem described above so that one side falls slightly longer then the other. This one is extra special because of the extreme detailing that is done by an abundance of hand embroidered flowers that run all the way around the band of the waist. More flowers run all the way around the skirt in beautiful curving patterns in a beautiful curving pattern on both the back and the front. Placed within the highly detailed embroidered leaves are little flowers formed by scalloped ribbon. The final finish is a perfect little ivory bow at the waist. It is just wildly gorgeous. Excellent condition with a minor note below

The sleeves are unlined and the skirt is lined as described above. It closes with a back set zipper and each sleeve has elastic at the cuffs. I see some lifting and wear in and around the gold medallions around the shoulders. It looks like there have been some stitches put into help hold them down at some point but some are lifting and there are areas of the organza in between that is missing. Please see the photos after the label shot. It is an incredible dress

Sleeves: 18"
Shoulders: no true seam since they are inset
Bust: 17.5" flat across from side seam to side seam
Seam at the top of the waist band: 15" flat across from side seam to side seam
Waist at bottom of the band: 12.5" flat across from side seam to side seam
Hips: open
Bodice: 10" from shoulder to seam at top of waist band, 15" to waist seam
Total length: 56" from shoulder to longest points of hem

Modern Sizing Equivalent: XS-SML

Item# DD4852

Reference Photos: (1-2) Kate Moss in Thea Porter, for her wedding rehearsal, 2011.  /  (3) 1970 Thea Porter Dress from The MET Collection Online.  /  (4) Jane Fonda in Thea Porter.  /  (5) Model in Thea Porter, credit unknown.  /  (6) Joan Colins in a Gipsy Dress, with her sister Jackie in a robe with trailing sleeves over trousers, in two versions of Sheila Hudson's butterfly print, at the opening of the musical "1776" in 1970. From the book "Thea Porter: Bohemian Chic" by Laura McLaws Helms and Venetia Porter.  /  (7) Floral cotton voila Gipsy dress, 1969. Photography by Willie Christie. From the book "Thea Porter: Bohemian Chic" by Laura McLaws Helms and Venetia Porter.  /  (8) Actress Sharon Tate arriving at a party with Peter Sellers. She wears a Gipsy dress with moire bodice and polka-dot chiffon skirt and sleeves. London, July 1, 1969. From the book "Thea Porter: Bohemian Chic" by Laura McLaws Helms and Venetia Porter.  /  (9) Charlotte Rampling in Thea Porter, 1970s.  /  (10) Scanned from Vogue, Autumn/Winter 1970 by Liz Eggleston.  /  (11) Scanned from Vogue, April 1975 by Liz Eggleston.

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 wrap dresses and jumpsuits by Diane Von Furstenberg have become an iconic staple and this is one of the originals. Diane moved to New York with her husband, Prince Eduard Egon Von Furstenberg in 1969. She had design aspirations and in 1970 showed her first collection. It was in 1972 that she first debuted her now-iconic 'wrap dress' for the working woman, revolutionizing American women's apparel. By 1976, she had sold 5 million wrap dresses, landed covers of Newsweek and The Wall Street Journal and was a regular within the pages of Vogue. This is an early and rare jumpsuit from the Fall of 1975. The runway pics we found allowed us to identify the print and it shows you similar pieces on the body. We also added some reference photos from 1976 of similar pieces so you can see how her jumpsuits fit. Plus Farrah!

Girls bought these jumpsuits in droves and wore them to travel, dance in, and pretty much everything else. You do see Diane's dress versions of these pieces from this time period pop up more often then the jumpsuits do but I am always on the lookout for her jumpsuits. They are harder to find but worth the hunt. This one, with its graphic print in soft taupes and ivory wonderful. The print is screened onto a soft stretch jersey that has the feel of a modern super soft T-short but thicker. The design covers the jumpsuit from head to toe. It has long, lean lines and makes you look and feel supermodel tall in it. The colour is high, but the front is a zip so you can wear it zipped all the way up or as low as you dare. Each sleeve is long and has a buttoned cuff at its end. I love the two flap and buttoned tops at pockets that sit on each side of the bodice. The waist is seemed and you can wear it as is so it has a bit more of a loose and easy feel or add a belt if you want it to be really cinched in. From there the legs are cut straight and long with the slightest bit of flair by the time they reached hem. The final result is one long, lean, supermodel silhouette. Excellent condition.

The jumpsuit is unlined, slips on and then has a front zipper to close. The fabric is a soft jersey that has an almost heavy T-shirt feeling finish to it. The fabric does have some stretch and the measurements below are the comfortable stretch when laying flat. It appears to have been worn very little if at all.

Sleeve: 24"
Shoulder: 15"
Bust: to approx 18" flat across from side seam to side seam and can be adjusted
Waist: 12-14.5" flat across from side seam to side seam
Hips: to approx 20" flat across from side seam to side seam
Torso: 31" from top of shoulder to top of inseam
Length: 63" from shoulder to hem
Inseam: 35.5"

Modern Sizing Equivalent: XS-SML

Item# DD4834

Reference Photos: (1-3) Fall 1975 Diane Von Furstenberg.  /  (4) Diane Von Furstenberg Ad in Vogue US, April 1976.  /  (5) Farrah Fawcett in DVF, 1976.

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

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

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

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

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

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

Modern Sizing Equivalent: XS-MED

Item# DD4831

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

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

I have had the twin of this dress in the shop a few years ago and I was very pleased to find another. Since we have had that original dress we happened to find the runway photo of the dress firmly dating it to Fall 1979. A similar version of this dress was worn by Slim Keith to attend the Met Museum Gala that year. We have also included a couple of shots of me in the one we had previously to give you an idea of how it is on. And a note to those who prefer not to wear fur; you could always un-tack and remove the sleeves and replace them with a faux version, feathers or anything you could imagine, or leave them without as Slim did and just store the cuffs for archival purposes.

This dress is one of the best that he ever made. The dress has elements of his work that he would touch on continuously over the coming decades. It is also a wonderful example of just how sophisticated and glamorous he could be. The silk chiffon used for the base is feather light and it has a fine gold, metallic lurex thread that is woven through the silk to create vertical stripes. Hand applied gold sequins were then added to follow those gold threads. The sequins catch the light beautifully and add another dimension and texture to the dress. There is a subtle leaf print that runs through the silk and this adds a beautiful and subtle extra feel. The upper part of the skirt is the same deep red as the bodice of the dress and then that leaf print gradually becomes more dense until it forms a solid soft brown around the lower hem. There is a slit up the front to let you walk. The dress has a nod to the 1930s in its cut but he has exaggerated some of the elements to keep it modern. The bodice crosses over itself and there is a built in brown silk under piece so that you can wear the dress and not have it completely transparent. On the bodice there are no sequins and this is deliberate to keep it lighter in feel. The sleeves extend directly out from the bodice and they narrow down as they reach the cuff. The cuffs are both finished with a 7" band of fur that is either a mink or a sable. It is gorgeous. Excellent condition.

The dress has an attached inner brown silk chiffon slip that snaps to close at the back and then the dress zips to close over that. An inner waist stay inside hooks to close. Hand finished and hand set sequins. All hand finished to demi-couture standards. The cuffs have perhaps the very slightest of wear to the edges and are soft and supple.

Sleeves: 24" approx.
Shoulders: no defined seam
Inner bust: to 18" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Inner hips: to 20" flat across from side seam to side seam
Bodice: approx 17" from the top of the shoulder to waist but will come up a bit once on
Total length: 60" from the top of the shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4829

Reference Photos: (1) Fall 1979 Bill Blass.  /  (2-3) Cherie, Owner of Shrimpton Couture, by Erin Leydon.  /  (4) Socialite Slim Keith in Bill Blass (left) at the Metropolitan Museum of Art Gala in New York City, 1979.

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

George Stavropoulos was known for his evening wear and his signature looks often involved draping and the use of multiple layers of silk done on a bias cut. He focused on cut and fabric to convey the beauty of each piece. It was said that his gowns 'seemed to float on air'. He launched his label in 1960 and soon was dressing women like Elizabeth Taylor, Jackie Kennedy, Barbra Streisand and Maria Callas. The majority of his gowns are almost entirely made by hand and to couture standards. By the early 1980s one of his evening dresses started at a cost of around $8500USD and they went up in cost from there. To put that in modern terms, that would be about thirty thousand dollars. It was an incredible amount of money at the time and yet women couldn't get enough of them. This one is especially beautiful.

This dress is drop dead gorgeous with its yards and yards of silk chiffon and draping. It is a little extra interesting because of the the attached top panels that allow you to wear the dress in multiple ways. If you look closely at the photos I have here you will see that I have styled it differently by wrapping the panels around the body in different ways to give the dress several looks. I think that you could probably come up with even more variations once it is on. The dress is made of an incredible six feather light layers of that beautiful bias cut silk chiffon. The inner five layers are stacked on top of each other and then the very top is a panel that wraps around on one side and has been caught up in a draping effect. To make sure that the drape that he wished to have is perfect, there is a little weight hidden inside the drape so that it hangs perfectly. I took a photo of it for you to see. Then on the other side it is open from under the arm down and that is the layer that you can tie and wrap in different ways. It is stunning to see in person. The effect of layering the chiffon gives it so much more movement and drape and it creates this beautiful movement when you move. The layers have just enough weight to stay in place when you are standing still and then when you move they move with you and the effect is gorgeous. The slightest bit of movement on your part or bit of air around you will cause it to move. This is a fabric that is notoriously difficult to work with and it shows just what a genius he was by the way that he was able to make it flow and sit so beautifully. The majority of work is all done by hand and it would have taken many, many hours of work to create this dress. The neckline is just slightly scooped and the sleeves are very full above their buttoned cuffs. The top overlay of the dress is attached around the neckline and runs under and around the sleeve on one side. On the other is opens and has a long tie extending out the front on that side. At the back it is connected across the top of the shoulder and then the entire panel is left free so that you can use it to wrap or drape it over your shoulder around your waist to cross your bodice. Inside the dress is a loose and easy cut that skims over you. The dress falls from the neckline, skims over the bust and waist and then the hips are open and easy. As it nears the hem it widens out considerably. This is a dress that must be on a body to really come to life. As good as it looks here it is nothing compared to it on and moving. It is also a technical masterpiece with all those layers of silk and the way he constructed it. Excellent condition with a minor note below

Made from several layers of silk chiffon as noted above. It zips to close at the back with a weight onside the drape. The top panels can then be tied or draped in a variety of ways as described above. Hand finishes. I see the tiniest bit of wear to the silk near the top of the shoulders. Please see the photo after the label shot. The bias cut should allow it to fit a range of sizes upwards and drapes more on a smaller size. 

Sleeves: 28" and it is approx 20" around the upper arm
Shoulders: no true defined seam
Bust: to 20" flat across from side seam to side seam
Waist: to 18" flat across from side seam to side seam
Hips: to 24" flat across from side seam to side seam
Length: 65" from top of shoulder to hem and depending on how you style it, some of the overlay panel made drape beyond that

Modern Sizing Equivalent: XS-MED

Item# DD4813

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.

We found a runway shot of a shorter version of this dress and I love that this lets you can see how fantastic this sits on the body. This is from his made order line and he may have done a long version for the show as well but unfortunately there are not full records available for this time period. The other possibility is that the client saw the shorter version and ordered it in this full length. Either way this is classic Halston from his main label couture line. It is instantly recognizable as one of his looks and it is an incredible example of his work from this time period. I love it.

This is an amazing couture Halston dress and a very rare and special find. It is entirely cut on the bias and utilizes his signature minimal seaming. Halston defined how woman dressed in the 1970s and these jersey dresses that he did were tremendously flattering to the body. It is also insanely sexy while still being extremely comfortable to wear. The fabric is a beautiful deep forest green silk jersey that moves and drapes beautifully. This one is especially interesting because unlike its later counterparts it is actually two layers of the same silk jersey. The two layers have been stacked over each other and joined along the top edges and the hem. This gives the dress an inner lining and helps to soften out any bumps underneath the top layer which makes it very flattering to wear. Later dresses were not made like this because it literally doubled the cost of fabric to make them this way. The dress is made to be one long tube that expands outwards at the hem and has two long ties that extend out from the top of the halter at the front. You simply tie it at the back of the neck and then the long ties trail down the exposed back. The depth of the plunge can be controlled by how tight you tie the ties. On my dress form I have left it fairly loose and in the photo from the runway it is tied a bit higher. The front plunges into a scoop and the sides are cut on a curve to a low scoop. This leave the entire back completely bare and exposed. The halter skims over the breasts and then falls over the waist and hips. The skirt flares out at it reaches the floor and it has a ton of movement when you move. It is spectacular. This is a rare example of Halston at his very best and it is easy to see why his work is the subject of so many books and retrospective shows at museums worldwide. Excellent condition with a minor note below

Constructed from two bias cut layers of silk jersey with the ties extending out from the neckline. The dress slips on to wear and ties at the back of the neck. Hand finished. It is all bias cut which should allow for a bit of range of sizing. I see teeny pinhead size dark mark on the bodice and a couple of tiny hard to spot areas on the skirt that will not photo. I am being pretty picky. The fabric has some stretch and I have put the comfortable range of measurements laying flat. You could probably get a little more if needed. 

Bust: if you let the plunge go extremely low, each halter is 4" across just above the bottom of the scoop. The halter just below the scoop will cover 13" across un-stretched. Where it meets the seam from the back it measures 15-19" flat across from side seam to side seam
Waist: 13-16" flat across from side seam to side seam
Hips: 17-21" flat across from side seam to side seam
Length: approx 60" from shoulder to hem, with 2" turned under the hem. The length can be adjusted by the ties at the neck

Modern Sizing Equivalent: XXS-MED

Item# DD4781

Reference Photo: Spring 1974 Halston Made-to-Order Fashion Show.

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 comes to me from a client whose aunt was buying pieces from Louis Mies along with the French couture houses. Mies was a small independent couturier who did custom work for his clients to haute couture standards. He designed many pieces for the Queen of Belgium. He was one of the independent ateliers that bought the fabric directly from the couture houses for his own work and he also sold couture pieces through his salon, something certain retailers could do during this time period as long as they were authorized. We do not have any family records as to what designer this might be but the dress bears a striking similarity to some of the 1977 Valentino couture collection pieces. 

The level that this dress is made to is incredible. The fabric is a black silk taffeta and the edging is all beautiful French Chantilly lace. There are many yards of fabric used in the construction of this dress but once on the body it is all perfectly balanced. It sits off the shoulder to leave a bare expanse of skin showing. A 6" ruffle of silk wraps all the way around your shoulders and it is edged with 3.5" of lace. Hidden under that are these incredible extra wide sleeves that are also edged in lace. The bodice skims over you and the waist nips in for shape. I have added a grosgrain ribbon to add more shape and you could also wear a more structured belt. The skirt falls to the floor from there and widens out to the fullness that you see. The skirt has three layers. There is a full built-in black silk under-skirt that has wide bands of stiffened netting at the hem and then again part way up the skirt. The next layer is a black silk with two ruffled tiers at the hem edged with black lace. The final top layer sits over those and curves up at the front to meet the seam at the waist. You can tell the level of construction on the dress by some of the small details in it like the fact that there are these little ruffles that run along the seams of the inner layer even no one would ever see them. I love that. The dress is completely made by hand and I have included a couple of shots of the inner seams for you to see the amazing handwork. Excellent condition with a note below

Fully lined through the bodice in a black silk and the skirt is constructed as described above. It closes with a painted metal zipper at the back. Made by hand to couture standards. There are a couple small repairs / tiny holes on the ruffle on the neckline. There is so much fabric they get lost in the folds. Please see the final shot after the label. It otherwise looks unworn 

Bust: to 19.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of natural shoulder to waist
Skirt: 43" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3882

Reference photos: Valentino campaign 1977 shot by Deborah Turbeville

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD4756

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

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

James Galanos was just 27 years old when he launched his first label called Galanos Originals in 1951. 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. when you convert that to modern dollars and realize that it would be just under 30k for his upper range pieces. Part of the reason for those high price tags was that his ready-to-wear was made to couture standards. Galanos pieces were all produced in very limited quantities in his workshops and his work was as close to couture construction that you could find outside of Paris. Grace Kelly was an early fan and other couturiers looked to his work as inspiration. His work is held in all of the major museums around the world and he is one of my personal favourite designers. 

This is one of my favourite pieces I have seen by Galanos and it is incredibly beautiful in person. The dress is made from a feather light silk and that choice of fabric is what gives it that bit of volume that you see through the skirt. I did not add any underskirts, the shape that you see is all created by the way the skirt is set in and around the waist and the lightness of the silk. Two piped blue silk straps curve up and over the shoulders. The neckline dips in a slight sweetheart at the front with the silk gathered and softly pleated all the way around the top of the bodice for detailing. The silk on the bodice is that same brilliant blue as the straps and it is softly gathered down the sides to the waist. The silk extends out past the waist seam into a edged ruffle that meets a ruffle underneath created by the extension of the silk of the skirt. I love the detailing there that this creates and that underneath the ruffle the waist seam is anchored with a gold braided cording. The skirt has been softly gathered all around the waist and then it open outwards to have the volume and fullness that you see. Four panels of silk have been pieced vertically together to construct the skirt. At the front you see  a deep green panel on one side and a slightly metallic feeling copper brown on the other. At the back both of the panels are the same beautiful blue as the bodice. All of the edges where the panels meet are finished with a hand applied metallic gold cord. Between the green and brown panel at the front the skirt is slit open between the cording so when you walk or move you get a flash of bare leg. The silk is so light  that when you love the skirt billows out around you. Incredible. Excellent condition  

Unlined and closes with a back zipper. Ribbon edge interior seams. Hand finished throighout. It appears to have been worn very little if at all. 

Bust: 16" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: open
Bodice: 16" from top of shoulder to waist seam
Total length: 59" from waist to hem
Slit: 26" from hem up

Modern Sizing Equivalent: XS-SML

Item# DD3736

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.

Loris Azzaro launched his label in 1967 and quickly defined his trademark looks by using ornate beading, sequins, daring cut-outs 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. I am certain that this one is also from the early 1970s like the other Azzaro that I have in the shop today is. I have only ever seen one or two of these come available and never in this colour before. This is a label that I really love and am always happy to find pieces of.

This is a killer dress. It is really one that will come to life even more once on an actual body and you can see your bare skin peeking through the openings on the arms and down the front, never mind that low scooped back. The neckline is scooped across the front and then it is open right down to the low waist. To be able to wear it and keep it in place on you he has put three rhinestone encrusted open rings at the neckline, just below the breasts, and then at the base of the opening. This holds the dress in place but still allows the skin to peak through from top to bottom. It is very sexy. Each sleeve is long and has another series of three of those same rhinestone circles starting at the top of the shoulder and then running down their open cut lengths. So you can see that line of bare skin all the way down your arm. The back is opened and scooped. The dress is made from a turquoise silk jersey and it falls beautifully over the body. I love how it is gathered into the bottom circle at the front. This is what gives shape and lets the dress expands out over the hips and fall in that perfect line that you see. The skirt skims over the hips and then drapes beautifully around you. If there was ever a dress that needed a body inside of it to bring it to life, this is it. It is stupendous once on. Excellent condition with a small note below

Unlined and slips on to wear with no closures. Hand finishes throughout. I see a faint mark in the fold on one hip and it appears that at some point the hem was let down and you can see a faint line where the hem used to be. I have left it as is because it is nice to have that extra length. Hand written label inside a lower seam. Please see the photos after the label shot. The fabric does have some stretch and the measurement below are those comfortable while laying flat. The colour is a touch truer turquoise then how it photoed

Sleeves: approx 22" and are approx 12" around, but there is some flexibility in that because of the open sides
Shoulders: approx 14"
Bust: approx 14-19" flat across from side seam to side seam
Waist: 12-14.5" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Total length: 59" from top of shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD4739

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.

Loris Azzaro launched his label in 1967 and quickly defined his trademark looks by using ornate beading, sequins, daring cut-outs 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 during this period and we found a reference from the 1971 collection that utilized the same type of beading. This is a label that I really love and am always happy to find pieces of.

This is a killer dress. It is really one that will come to life even more once on an actual body. The jersey glides over your curves and is so flattering. I hope the photos convey just how fabulous it is because when worn and on an actual body this one will be even better. The neckline plunges in a V at the front and then it has elaborate border with a thick application of beads, sequins and paillettes. These start at the back  of the neck and wrap around to follow the plunge at the front. From there it expands into a wide panel that ends in a almost medallion feeling embellishment that sits at the waist. The beads are densely applied to sit up and off the dress and it is quite incredible to see. The sleeves are long and each one expands on a curve to poof out just above the cuff. Then each cuff has the same incredible beaded detailing that you see at the front. The deep turquoise silk jersey glides over the bust and comes in at the waist for shaping. The skirt falls under that, skimming over the hips and then widening out to fall beautifully to the floor. It is the perfect combination of feeling covered yet sexy and the dress is incredibly easy and comfortable to wear. It is stupendous once on. Excellent condition with a small note below

Unlined and the dress closes with a hand set back set zipper. Each cuff snaps to close. I see a light bit of colour change to the fabric here and there. It is something that you noticed only when looking really close at the dress and it presents perfectly once on the body. It is there however, and it is priced accordingly. Please see the photos after the label shot for examples. The jersey does have some stretch and the measurements below are the comfortable range when laying flat. The colour is a touch brighter turquoise then how it photoed. Hand finishes throughout

Sleeves: 26" and are 10-11" around the upper arm
Shoulders: 14"
Bust: 16-18" flat across from side seam to side seam
Waist: 12-15" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Total length: 60" from top of the shoulder to hem with 1.5" turned under

Modern Sizing Equivalent: XS-SML

Item# DD4737

Reference Photo: Michèle Morgan in Azzaro at his workshop, April 1971.

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

Bill Gibb was one of the most influential designers in 1970s Britain and his clothes were 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. 

The dress is made from a silk chiffon that has been dyed to a deep fuchsia that gradually darkens to a deep mauve as it loves across the dress. I love the depth this creates and how it highlights the parts of the dress. The sleeves are wide and come out from just above the gathered waist. They narrow down to their ends from there. The front and back both dip into a deep V and the neckline sits wide across the shoulders. There is a little silk flower finished with sequins nestled at the base of the V. From just under the bust to the top of the hips the silk is gathered and fitted for shape. The skirt falls to the floor from there in a sweep of silk chiffon. Pink glitter is fused onto the silk and it catches the light with your every move. Under the top layer of silk on the skirt is an inner lining in a pale silver blue . The two colours layered over each other adds an extra dimension to the skirt that is even better in person. It is gorgeous. 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 it is minimal and I am being picky. 

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

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 exceptional dress is by Marc Bohan for Christian Dior and it is a wonderful example of his work during this time period. We have dated it to the Fall 1979 collection based on the reference and runway photos we found of pieces with similar fabric and cuts. I love that it feels like a throwback to the work of the original Mr. Dior and that it has such a beautiful feel of old world glamour to it. Bohan's work was integral to the labels development over the decades that he headed the atelier and this is a stunning example of his vision. Beyond that it is just an extraordinarily beautiful dress.

I love the nod to the 1950s in this dress. It has that classic little New Look shape to it that we all love and associate with the house of Dior. At the front the neckline is squared off by how the sleeves are set into the dress combined with the straight across cut of the neckline. Across the front of the neckline it is detailed with a wide black silk ribbon that has a pretty bow at the front. The sleeves are a single layer of the silk netting are are covered with those pretty white sequins. They curve softly over the shoulders and fall just below the elbow. The transparency of the netting lets you see a glimpse of the skin underneath. At the back the netting angles down towards the centre of the back where they meet another wide black ribbon finish there as well. The bodice is gathered across and into a vertical strip of the fabric that is detailed with three rhinestone and crusted buttons. It skims over you to the waist with a boned and shaped interior. The skirt is gathered in all around the waist and there is a great amount of fabric in the skirt. This allows it to fall in those soft folds that you see but when you move it has incredible movement. The bottom is anchored by another wide finish of black silk satin ribbon that ties the entire dress together. I love that the entire dress is covered with hand sewn white sequins and there two secondary patterns worked through the netting that gives it added texture. It is incredibly beautiful and the photos don't truly convey the sense of texture the dress has in person. It is a stunning example of Dior from this time period that somehow manages to feel perfectly timeless. Excellent condition.

Fully lined in a black silk chiffon. It closes with a hidden set backer and a hook and eye at the inner waist stay. The interior of the bodice is lightly boned and shaped.

Sleeves: approx 17" and 13" around the upper arm
Shoulders: no defined seams
Bust: 17" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 18" from top of bodice to waist
Total length: 50.5" from top of the shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4686

Reference Photos: Fall 1979 Christian Dior.

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.

When dating this extraordinary Yves Saint Laurent dress, we found a photo of a piece with almost an identical cut bodice from 1972 along with several runway photos that show other pieces with that same cut to the bodice. I have included those here for you and it is interesting to note that the pleating technique that is used around the upper hip of the skirt was also done in a more intricate fashion for the 1974 Couture show. Yves often use ideas from both collections. - Rive Gauche and Couture - to build and develop ideas and it is fascinating to see the progression of his work from garment to garment. This is an incredibly beautiful example of his work from this time period.

This dress combines a floral silk chiffon with a muted red silk on the skirt. This combination is absolutely gorgeous. Is combination of silks give the dress just enough weight and structure to be able to create the impressive lines and volume that you see but while still making it feel soft and romantic. The colours are spectacular. The top is a printed silk chiffon, and it has a stunning floral pattern in red purples and greens that float over the entire bodice and the sleeves. The bodice is cut to skim over you and the waist nips in. It plunges at the front and crosses over itself, and the neckline has been detailed with ruffles that begin at the back of the neck and circle around to follow the V at the front and then run down to the waist. piping in the same fabric detail. The waste and ties have been left off to the side to hang down and create a pretty little detail. The skirt falls to the floor from there and it has yards and yards of fabric in it that creates the fullness and volume that you see. The skirt falls in a gently widening line and is quite full by the time it reaches the hem. I love the volume that this type of fabric creates and how it billows around you as you move but at the same time it is as light as a feather. Around the entire upper hip area, and starting at the waist or a series of tiny cleats that gradually open out to create the volume underneath. This intricate detail is a beautiful addition to the dress. The sleeves are outstanding. Each is a single layer of the silk chiffon and are wide and very full. They are caught up at the wrist with a circle full circle ruffle underneath. This creates a beautiful and dramatic finish to the top. I love everything about this dress. Excellent condition.

Fully lined in a red silk and closes at the back with a hidden set painted met zipper. Attached ties at the waist and elastic in each cuff. The silk skirt and the exterior layer is a tool ruffle that helps keep the volume through the skirt. Tagged a vintage YSL 38. I see some light marks around the hem of the skirt.

Sleeves: 24" and 14" around the upper arm
Slightly inset shoulders: 14"
Bust: to 18" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 16" from neck to waist
Total length: 60" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4665

Reference Photos: Fall 1972 Yves Saint Laurent.

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.

A version of this 1973 coat in a different pattern is featured in one of the Biba books and you can see the same shape through the shoulder and sleeve. I have had this for many years now and it is a very hard piece to let go of. It really showcases her love for all things Art Deco and the cut of this coat is phenomenal. 1973 marked the year that the Big Biba store opened in a seven-story building on Kensington High Street. Every floor had its own theme with floors and millions of people visited.

This coat is absolutely wonderful. It has those fabulous Art Deco lines that Barbara Hulanicki excelled at and that so many of the best of her pieces reference. It is made out of a woven wool that creates a giant houndstooth pattern. The neutral colour combination of the taupe and black is so easy to mix and match with everything. The coat has some weight to it but feels balanced once on the body. I love that you can see the actual weave of the wool. This adds extra texture and dimension to the pattern. The coat falls beautifully once on. It has a single large flat metal hook at the front and then swings open under that. There is no collar, and it simply falls into a V to that hook and then carries on to the hem. It is more fitted through the shoulders and then falls outwards with all of the volume created by the way the fabric has been cut and pieced together. The shoulders and sleeves are spectacular. Each shoulder is set with a high capped and rounded cut. This was something that Hulanicki became known for and pieces with this cut are among the most coveted. The sleeves are equally as fabulous. They are cut wide and full and then the ends flip over to create that huge 7" cuff. Hidden set pockets along one of the more inner vertical seams is the perfect finish. It is just exceptional and I think it is one of the best Biba coats I've ever personally seen. Excellent condition 

Fully lined in black silk. It has one hook to close at the front. Light padding in each shoulder. Pockets on each hip. I see some light water marks on the inner lining here and there. The open should fit a variety of sizes as long as the upper shoulders fit.

Sleeves: 21" and 14" around the upper arm
Shoulder: 17.5" flat across the exterior of the entire upper shoulder
Bust: to 18" flat across from side seam to side seam
Waist-hips: open
Length: 43" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# DD4659

Reference Photo: Photo feature of the first Autumn collection at Big Biba in 1973 from the book “Welcome To Big Biba” by Steven Thomas and Alwyn W Turner. 

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.

Valentino launched his ready-to-wear label in 1962 two years after opening his atelier in Rome. He eventually expanded and added other boutiques. His first New York boutique launched in the fall of 1970 and it caused a sensation. Traffic was backed up 3 blocks with everyone who was anyone trying to get in on opening night. More boutiques followed including one at Bergdorfs. He encouraged his couture clients to also shop in his boutiques. He wanted everyone to have the Valentino experience and noted that he often carried the lines he created for his Couture label into the boutique work. The fabric and construction details were still remarkably close in quality to his couture pieces at this point in time. The line between the two was often blurred and on this set you can see that in the hand finishing that is has. I absolutely love this set. It is gorgeous.

The dress is made out of a black silk that holds its shape and volume beautifully. This is a two piece set made up of a dress and its matching jacket. They are fantastically beautiful worn together but I also love that by having the two pieces it gives you more styling options and you can wear then separately and mix and match with other things you already own. The dress is suspended by two tiny straps that curve up and over each shoulder. A wide set V sits at the front and then it dips lower across at the back to leave a bare expanse of open skin. It is cut to be more fitted to the waist and then under that it is all volume. The skirt has an incredible amount of silk in it that really shows best when you move. The lightness of the silk causes the skirt to billow out and move around you as you move, yet it still has enough weight that it holds that full feeling when you stand still. When this is on and you are walking the effect that this creates is absolutely gorgeous. A full 13" ruffle circles the lower hem and it has been sewn is on top of the skirt and not simple seamed onto the edge. This is a clever technique that leaves fabric inside and behind the skirt and this helps to hold its shape. This uses extra fabric so it's not something you see as much anymore. And it has pockets. The jacket is a thing of beauty in its own right. It widens out from a soft shoulder and curves around and up from the hem to the neckline. I love the tiny ruffled finish that follows the edge. The sleeves are incredible and each is cut to be a wide bell shape. By their ends they are each a full 20" around and the ruffle that finishes each sleeve is a little more then that even. It is absolutely beautiful. This is a stunning Valentino from this time period. Excellent condition. 

Fully lined in a black silk. The dress closes with a back zipper and there are two hidden hook and eye at the base of the jacket at the front. Tagged a vintage Valentino size 6. 

Dress
Bust: to 16.25" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: open
Bodice: 14.5" from top of shoulder to waist
Skirt: 43" from waist to hem

Jacket
Slightly inset shoulders: 13"
Sleeves: 22.5" long and 14" around the top part of the arm
Bust: 17" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Length: 17.5" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD4054

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 fantastic cape is from the Fall 1976 collection and several versions of it were produced that season including this deep purple one. We have included photos from the runway pieces here and we also found an ad campaign shot with its twin in what looks to be a lighter colour and included that for you to see as well. I personally have several versions of his capes myself and have worn them countless times. It is literally the perfect thing to pop over a dress at night time. It is a very versatile and so easy to wear piece.

The cape is in a very beautiful deep purple combined with a more maroon coloured edging. The fabric is a high end wool that has a little bit of weight just due to the sheer amount of it in the cape but is still comfortable and easy-to-wear. This is one of those effortless pieces that is easy to make a part of your wardrobe. You just slip it over your shoulders and it drapes in place. A slightly oversized hood extends out from the neck and this added addition of the hood adds the perfect amount of detail and drama. A flat blue braided rope finished all the edges and I love the elaborate braided knot that closes it in place at the neck. A long fringed tassel sits on either side of that closure for added drama and an even longer tassel dangles down from the hood at the back. I love the bit of movement these create when you move. There is a ton of fabric in the body of the cape so that when you move you get wonderful movement as it floats and billows around you. The cut is impeccable and it is a great piece of YSL's fashion history. Excellent condition with a small note below

Unlined and drapes over the shoulder to wear with a knot closure at the neck as seen. The occasional graze to the surface. The easy open cut should allow fit just about any size

Length: 58" from shoulder to hem

Modern Sizing Equivalent: OSFA

Item# DD4637

Reference Photos: Fall 1976 Yves Saint Laurent.

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.

I have had this tucked away in my archives for quite some time and it is spectacular. This is it gorgeous little dress that is easy to wear and an extremely beautiful example of her work. It has a touch of a caftan feel to it and that combined with those spectacular sleeves makes it very special piece. Of all of Thea's pieces, her caftans and the dresses that had that caftan like feel, have come to represent Thea's work like no other pieces of her clothing that she designed. Everyone who was anyone wore her work back in the day, including the great Elizabeth Taylor who was a huge fan and collector. This dress is just spectacular and a very special piece.

The dress is very beautiful and is made from a printed silk chiffon. The fabric has a swirling paisley feeling design with a black backdrop and then the print is done in a greens mixed with pops of blue. The print runs over the entire dress. The bodice has an empire cut and the front scoops low and wide. Detailing the edge of the neck and down the front is an added antique gold metal cord embellishment. This goes all the way around the neckline to the back and then runs part way down the front where it closes with hand made frog knots made of the same cording. The cording also details the seam where the sleeves are set in and more of it sit above the scalloping detail of the skirt. Thea was known to hunt antique stores and markets during her extensive travels and use what she found in her designs and this is certainly a found antique textile. The dress buttons down the front to just past the waist. There is a seam set under the bust and then the dress falls from there in a loose and easy feel. The sleeves are magnificent. They are slim through the upper arm and then from just above the elbow to the cuff they balloon out to be spectacularly full. They are not lined for the lower balloon part of each sleeve and I love the touch of transparency this creates. The rest of the dress is lined in a black silk and the chiffon over it is semi-transparent like the sleeves. This see-through quality gives the fabric depth and a floating feel over the inner lining. The final detail is that little scalloped panel that runs around the skirt above the bottom hem. It adds just a tiny touch of movement, and added detail that is lovely. This is very special and rare piece of Thea's work and it is also very beautiful. Excellent condition

Fully lined in a hand set black silk lining. It closes down the front with gold antique cord loops and knots. Each cuff hooks to close. Tagged a vintage UK 12. Finished by hand throughout. There is some patina to the cording that is a natural occurrence of its age. A tiny bit of grubbiness to the seam under each arm on the inner lining. It is spectacular

Sleeves: 26" and 11" around the upper arm
Slightly inset shoulders: 14"
Bust: 17" flat across from side seam to side seam
Seam under the bust: 14.5" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Bodice: 10.5" from the top of the shoulder to the seam under the bust
Total length: 56" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD4570

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 House of Givenchy was founded in 1952 by Hubert de Givenchy. He has always been strongly associated with the work that he did dressing Audrey Hepburn but his range was incredible as a designer behind that relationship with her. Some of my personal favourite vintage pieces over the years have been from his work. His Haute Couture pieces are always amazing to find and this wonderful dress is an extraordinary example of his couture work during this time period. It is completely made by hand to Haute Couture standards and the workmanship and craft out into this dress is extraordinary. This is also the actual runway sample and you can see its near twin in the reference photos that we have added here that would have been in the same grouping as this one, which makes its place in fashion history even more special. As good as the dress is on the dress form you can see how it transforms even further on an actual body. This is true Couture and it is fabulous. I love it. 

What a beautiful piece of couture. The bodice of the dress is made from a black silk with a slight sheen to the finish and the fabric has a touch of weight that allows it to hold the shape that you see. For the skirt he used a black velvet with a thick pile finish and this fabric choice also really allows it to hold those beautiful lines that you see in the photos. Its beautiful shape is almost sculptural and it is a testament to the level of workmanship that you only see in true couture pieces. The bodice buttons to close down the front and the buttons run all the way up to the neckline. Each button is a thick circle of black with a glass rhinestone set inside. The neckline has no collar and it is just a simple, elegant swoop around your neck. The bodice has vertical darts so that it follows and accentuates the curves of the body. It narrows in slightly at the waist and then curves out and over to the top of the hip below the natural waist. A ribbon is tacked at the back and then ties on the front to give the dress the same look as how it was shown on the runway. The sleeves are amazing. Each is cut on a curve to follow the shape of the arm in the traditional manner of making a sleeve. They are set into the shoulders with a beautiful series of soft pleats so that you get a bit of volume at the shoulder. There is stiffened tulle just inside the edge of the shoulder for shape and this lets them puff out slightly around the upper arm and then it narrows down to their ends.The skirt has some built-in fullness around the inside of the upper hip that allows it to lift slightly off and away from the body. There are also weights that are set all around the inner hip so that it sits perfectly on the body once on. The skirt curves down and inwards from there. The skirt at the front is cut on a curve that swoops up at the centre so that you see a flash of leg as you walk or sit. The back is fuller and it also falls a touch longer so you get a beautiful curving line from the side. The sleeves are works of art. Each is detailed with hand applied prong set glass rhinestones in red green and clear to form a stunning red flower with trailing leaves that run over and down the outer edge of each sleeve. Little hand cut velvet bits are hand applied in and around the flowers to give them depth. The rhinestones catch the light beautifully. It is incredible. These have all been added one by one by hand and the entire dress is completely hand made to couture standards. I have taken some detail shots of the interior seams for you to see the fine Haute Couture workmanship inside. It is an incredible piece and beautifully made. Excellent condition with a small note below

The bodice is unlined and the skirt is fully lined in a black silk organza. Built in panniers around the hip area with weights that I have photoed. It closes down the front with the buttons as shown and the skirt snaps into place under that. A little hidden set snap is set on each cuff. Hand finished throughout. The proper runway sample tag is present. One rhinestone is broken but it is the button that lies under the ribbon when it is tied. Please see the photo after the sample tag. Some of the seams show minor stress. Made to Haute Couture standards with a tremendous amount of detail put into its construction.

Sleeves: 25" and 14" aroid the upper arm. 6.5" around the wrist
Slightly inset shoulders: 14.5"
Bust: 16-17" flat across from side seam to side seam
Waist: to 13" flat across from side seam to side seam and meant be cinched with the ribbon
Seam across top of hips: 15" flat across from side seam to side seam
Natural hips: open
Bodice: 20" from the neck to the seam at top of hips
Total length: 41" from neck to shortest part of the front hem, 58.5" to the back hem with 2" turned under the hem

Modern Sizing Equivalent: XS-SML

Modern Sizing Equivalent:

Item# DD4562

Reference Photos: Givenchy Fall 1978 Haute Couture Advance.

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.

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 mid- to later part of the 1970s and is fantastically beautiful. No matter how good it looks on my dress form, in person and on the body it transforms into even more of a bombshell. It is spectacular. To give you an idea of the way the paper bodice fits I have included a photo of French singer Dalida and one if Raquel Welch both wear dresses similar to the bodice of this one. I think this one with its fantastical net tulle skirt is even more special 

This is a killer dress. It is one that will come to life even more once it is on an actual body because this is a dress that in person it is even better. The movement it has cannot truly be captured until it is on a body and moving. The first thing you see is that the entire body of the dress is covered in overlapping glossy black sequins that catch the light from every angle. This detailing alone takes your breath away when you see the dress in person. The dress is strapless and the bodice is cut with a rounded sweetheart neckline and has shaped cups with one of hi signature inner tacked in strapless bras.  It skims over the body from there gliding over the waist and hips. There is some shape at the waist but it is with a more easy feeling which keeps the dress feeling long and lean. Under that the skirt falls to the floor in an explosion of netted tulle that is set in ruffle layers that curve up and toward the centre front. The layers give the skirt so much volume and movement when you move and it is just incredible. When you move even the slightest, they move with you and it's gorgeous to see. It has a full underskirt in a black silk but the way the ruffle are set give the illusion of being more open at the front. I love how the dress curves around the hips and dips down slightly before turning into the tulle to give you maximum curves at the back as well. Above that 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. Excellent condition

Fully lined in a black silk and it closes with a zipper at the back. His signature copper strapless bra is tacked unsaid and you could remove or replace this is needed for a better fit. It is fuller through the waist and If you wanted a more hourglass feel you can alter the waist in. Elastic through the upper seam of the bodice. and the fabric has some give. Hand finished throughout.

Bust: 14-17" flat across from side seam to side seam with the current inner bra about a B to small C cup 
Waist: 14-15.5" flat across from side seam to side seam
Hips: 18-19.5" flat across from side seam to side seam
Length: 56" from top of the shoulder to hem

Modern Sizing Equivalent: SML-MED

Item#DD4486

Reference Photos: (1) Raquel Welch with Loris Azzaro, 1978.  /  (2-3) Dalida in Azzaro, 1976. - First two photos from the book 'Azzaro: 50 Sparkling Years'.

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

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

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

Fully lined in a hand set pale blue silk and closes down the front with an unpainted silver zipper. I see the teeniest bit yellowing, grubbiness to the bottom pale blue panel and maybe a touch of the same on the blue on the cuffs but I am being pretty picky there especially. Grubbiness to the inner lining around the hem and edge of the inner neck and makes on the inner lining under each arm. Please see the photo after the label shot. Tagged a vintage Small

Sleeves: 24"
Inner shoulders: 14"
Bust: 18" flat across from side seam to side seam
Waist: 19" flat across from side seam to side seam
Hips: 24" flat across from side seam to side seam
Length: 57" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# DD4483

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

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

James Galanos launched Galanos Originals in 1951. He was only 27 years old.  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. When you covert to modern dollars the top end figure would be about $31,000 today. His ready-to-wear was made to couture standards and on par with the French couturiers of the time. Grace Kelly was a huge fan and his work is held in all of the major museums around the world. He is one of my personal favourites and this set is an exquisite and very special example of his work.

This set was custom made for, and is from the estate of, 1950s model Betsy Pickering Kaiser. Betsy appeared on several Vogue covers in the 1950s and it was during that time period time period that she met Galanos. They were friends for over 60 years. She collected and wore Galanos pieces her entire life and was his friend and muse. He once told her husband ‘I would rather have Betsy wear my clothes than any other woman’. She was a constant presence on the International Best Dressed List and and was added to the Best Dressed Hall of Fame in the early 1970s.

This is gorgeous. It is made from a beautiful printed light weight silk chiffon that is combined with a red lace that has a metallic finish. The entire set combined weighs ounces. Huge flowers cover the entire surface of the silk chiffon. The pants are made from two layers of the chiffon and they are cut long and wide. An elastic waist makes them very easy and comfortable to wear. You then slip on that long piece over the pants. It is also constructed from two layers of silk that fall from under the lace bodice. Each side is slit open right up to the lace top. This gives the top piece a ton of movement and creates this fabulous floating effect around you when you walk. The bodice part is made of two panels of a metallic red lace that is connected along each side with a bit of a angled plunge above where they connect. The lace has that fantastic metallic finish to it for contrast against the pattern in the silk chiffon. The bodice has an inner nude silk lining so that from a distance you look like you are wearing nothing underneath it. The top is suspended by four tiny silk straps that curve over the shoulders. This set is tremendously good in person and it really needs an actual body to come to life. Cut supermodel long in length. Excellent condition

The pants are made of two layers of silk chiffon and close with a back zipper and elastic through the waist. The outer layer is lined with a nude silk chiffon through the bodice and the skirt is made from two layers of the silk. The outer layer closes at the side with hidden fabric covered snaps. There are a couple of very minor repairs and light snags near the hem of the overlay. This is a one-off, unlabelled custom piece made for Betsy and came from her estate. 

Over dress
Bust: to 18" flat across from side seam to side seam
Waist: to 17" flat across from side seam to side seam
Hips: open
Length: 62" from shoulder to hem

Pants
Elastic waist: 15-18" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Pant: 45" from waist to hem
Inseam: 32" from inner seam to hem

Modern Sizing Equivalent: MED-LRG

Item# DD2278

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.