This is one of those instantly recognizable dresses from the time period when Karl Lagerfeld was the designer for the Chloe label. The twin of this dress was photoed by Tony Kent for the March issue of Vogue Paris on Sylvie Vartan. Examples of Karl's work during this time period are held in museums around the world and are rare finds. Their place in fashion history is even more entrenched with his recent passing.

This dress is wonderful. In person it is even better then how it photoed, if that is possible. The skirt really has tremendous movement that is not conveyed in a still photograph. It is actually two separate pieces. A slim cut inner dress and a skirt overlay. The cut of the inner dress is kept simple. The dress is made out of a fine black silk crepe. The bodice is a cut straight across and the dress is suspended from tiny straps that curve up and around each shoulder. The waist is seamed and fitted and the skirt falls to the floor. It skims over the hips and flares out as it reached the hem. Over this is a silk organza over-skirt that has yards and yards of fabric in it. This makes it very full and when you move it is wonderful. You get an idea of the fullness that it has in the reference photo. Onto the silk of the bodice and completely covering the over skirt are hand applied silver sequins and glass tube beads. These are set in little abstract geometric designs around the top of the bodice and all the way around all of that fabric of the skirt. More sequins are scattered between and when the pieces are worn together the effect is fabulous. The inside is all finished by hand and to couture standards.  I love it so much and it is pure magic once on an actual body. Excellent overall condition with a note to review below

The dress fabric is self backed in sating and the bodice is additionally lined in a black silk. It closes with a side set fine painted metal zipper. Hand finished interior to couture standards and all hand work for the beads and sequins that is clearly seen on the back of the fabric. There are some small holes along the waistband of the inner dress. These are covered completely when the skirt is in place. I suspect they are from the hook snagging on the fabric when it was worn over the years. Perhaps the occasional sequin missing. 

Dress
Bust: 16" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: 17" from neck to waist
Skirt: 42" from waist to hem

Overskirt
Waist: 12" flat across from side seam to side seam
Hips: open
Length: 45" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3409

Reference Photo: Sylvie Vartan in Chloe by Tony Kent, Vogue Paris, March, 1974

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

James Galanos was known as the designer that could rival the French in terms of construction and design. He launched his atelier in 1951 and though he was never a designer that was formally made a couture house he certainly produced clothing with many of the hallmarks that define couture, thus giving him the status as being known as one of the 'American Couturiers'. 

The dress is constructed from a very unusual fabric combination that gives it that ethereal feel. A layer of a beautiful lightweight silk  is covered with a layer of white silk chiffon. This is done both for the outside and the full interior. The unexpected luxury of this would not even be able to be economically done now. The three layers are completely attached at all the seams. The print is on the innermost silk layer. The entire dress is cut on the bias and as the white chiffon moves over the inner layer in the small way that it is allowed, you get this pretty and romantic diffused feel to the print. It is such a simple but extremely clever way to create an extra layer of softness. The print runs over the entire dress and as it is on a body and it moves it just gets prettier. The dress under the attached cape is very simple. It is cut to skim over the bust, waist and hips and then flares out on all sides to the hem for a pretty volume when you move. The back of the skirt is cut slightly longer then the front. The skirt actually has a lot of fabric in it, falling softly and in a more sleek way when you stand still and then really moving and showing how much is there when you move. All of the seams are vertical and have been done by hand. This vertical seaming really helps to add to the feel of length the dress has. Around the neckline is an attached caped panel of the same silk & silk chiffon. Here the fabric is finished in the same way as the body of the dress with that same attached layer of weightless silk chiffon on the top and then it is also finished that same way underneath. This floats over your shoulders, arms and then curves around and behind the body for a beautiful caped effect. The lightness of the silk there gives it a billowing effect when you move and walk that is stupendous. A really lovely and romantic dress that is even better on the body and in real life. Excellent condition with one small note to review below

The innermost layer of the silk chiffon as per the description above acts as the lining. It closes at the back with a hand set metal and nylon zipper and a silk covered button and loop at the back neck. Hand finishes throughout. I see two teeny marks on the front cape. They may come out with another round of cleaning. Please review the photo after the shot of the label. It looks to have been worn very little otherwise.

Bust: 17-18.5" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 56" from neck to front hem, 58" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD3404

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

True Haute Couture pieces by Chanel are an extraordinary find as they are so very rare and hard to come by. This one, like several other of the Haute Couture pieces in the shop at the moment, are from one of my clients whose mother purchased the majority of her Couture pieces between 1973 to the mid and late seventies.

The dress is made of two layers. There is an inner silk dress that acts as the lining, and then an outer layer over that, made from a semi-transparent silk chiffon. The silk chiffon used on the outer layer is especially fine and it has a beautiful red floral design screened onto the black with a secondary print suggesting an exotic animal print. The straps of the inner dress are made of that same fabric as is the matching belt that cinches in the waist. When the two pieces are layered over each other the result is wonderful. The outer dress gives the dress a very light and airy feel that is very feminine. The dress is so well made that I could not decide which way it sat better. I decided to photograph it both ways. First with the buttons down the front and then with it turned around to have the buttons run down the back. The neckline is collarless and simply ties above the row of silk covered buttons that start a slit keyhole between them and the tie. The bodice is cut to sit looser over the inner slip and the sleeves are full, poufing up above their buttoned cuffs. The skirt is a masterpiece of soft pleat work all the way around the hips. Each individual pleat is done by hand and precisely spaced. These give the skirt it's flounced feel. The matching silk fabric belt hook and ties into place to cinch in the waist. As good as it is on the dress form, it will be even better on an actual body. It is entirely made by hand and has its Haute Couture tag and numbered tape behind the tag present on the interior dress. Excellent condition

The exterior dress is unlined and closes with a tie at the neck and silk covered buttons. It has an inner waist stay that hooks to close. The interior dress act as the lining and closes with a handset side painted metal zip. Matching original belt. Finished to Haute Couture standards. Haute Couture label present with interior tape number 54878. The dress appears to have been worn very little if at all.

Outer Dress
Sleeves: 24.5"
Shoulders: 14"
Bust: 17.5" 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 bodice to waist
Skirt: 28" from waist to hem

Inner Dress
Bust: 16" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 42" from top of shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD3010

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

This Valentino is very similar to the work he was doing for the 1977 season that was so beautifully captured by Deborah Turbeville for the Fall campaign. I have included several reference photos of the similar gowns from the Haute Couture season that year and you can see how this one would have evolved form those for the boutique line

The dress is made from a feather light silk crepe chiffon in his signature shade of red. The fabric choice allows for the sense of airiness that the dress has once it is on and that beautiful shape. The bodice is strapless and is kept very simple with a straight across cut and inner boning on the sides so it stays on place. Two rows of those silk ruffles run around it and they are set so that just a few inches at the waist is left to be seen. This gives you some shape through the waist and keep the dress from being one solid column of nothing but ruffles. The skirt falls to the floor from there, gradually widening out as it nears the hem. Here the ruffles take center stage and fully cover the skirt in horizontal rows that slightly overlap each other. These run fully down the length of the skirt from waist to hem. The lightness of the silk allows them to move with the slightest bit of movement on your part. The effect that this creates is wonderful. It is a beautiful and romantic dress and showcases the best of Valentino's work. Excellent condition with one minor note below

Fully lined in a red silk and closes with a back metal and nylon zipper. Light boning in the sides of the bodice. I see one very faint mark on one ruffle to the side of the waist at the front. Please review the photo after the label shot. Note the back will close completely on the right sized frame. It was just a touch small on my dress form.

Bust: 15" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Bodice: 9" from top of the bodice to waist
Skirt: 44.5" from waist to hem

Modern Sizing Equivalent: XXS-XS

Item# DD3403

Reference Photos: Valentino Fall/Winter 1977 campaign photographed by Deborah Turbeville. (Model in Photo 1: Malgosia Bela)

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

After emigrating to the US in 1933, Rudi Gernreich started working in theater as a costume designer. He worked under Gilbert Adrian for a few years and eventually started his own small independent label in 1948 while still working for various other labels through to the 1952. At this point he started to develop the basis of some of the knits he would become known for while working for  the JAX boutique and doing freelance for several department stores. In 1960, Gernreich finally launched his own company and in 1964 renamed it Rudi Gernreich Inc. He is best known for his own label's work and the work that he was doing for Harmon knits in the 1960s and 1970s. Pieces like this dress are now regraded as being highly collectible.

This dress is from the 1971 season and several variations of this print were done and documented that season. His fascination with this graphic check print seems to have consumed him full force during this time period. Here we see three variations of the check used to maximum effectiveness. The top portion of the dress is done in a small red and navy check. The sleeves are more red in feel with a slightly larger so;id blue check running vertically down them. This balances out the skirt which is cut to be more full. Here the checks are of the same size and are quite large. The original belt that comes with the dress has the same check as the top and it anchors the entire design. The bodice is cut to be fitted and the skirt is set so that is has volume. It is made of his signature light wool knit. It is very rare to see a piece that still has its belt so I am happy to have had that come with it. It is a magnificent statement dress and highly collectible. Excellent condition with some small notes below.

Unlined and closes with a painted back zipper. The belt is backed with leather. The fabric around the round buckle shows signs of separating from the backing but still presents well. I see two nicks out of the fabric that I have photoed. I had this cleaned and temperature treated and the fabric seems stable. Please review the photos after the label shot and before the reference photos. Tagged a vintage S.

Sleeves: 23"
Shoulders: 14.5"
Bust: 16-18" flat across from side seam to side seam
Waist: to 13" flat across from side seam to side seam
Hips: open
Bodice: 16" from neck to waist
Skirt: 31" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3402

Reference Photos: (1) 1971 Rudi Gernreich Dress from the Indianapolis Museum of Art Collection.  /  (2-3) Peggy Moffitt in Rudi Gernreich, Fall 1971. Photographed by William Claxton.

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

This dress is that exact bright pop of color you need when you want to make an entrance. The dress is a flattering one shoulder silhouette and feels amazing when on the body. The fabric under the sequins is a light silk and it is all cut on the bias so the dress molds to skim and highlight your curves without having to hug them in a tight or confined way. This also makes it extremely comfortable to wear once it is on. The one side curves up and around the shoulder hooking with a trio of hooks & eye and then it curves gracefully across the back. The dress falls from there to the floor with a high slit running up one side. The sequins are set flat on the fabric in long vertical rows so that it gives you the illusion of extra length. The sequins themselves are in iridescent pink and catch the light fabulously. Worked in to this is a triangle pattern that runs down the length of both the front and back of the dress. The hem and neckline are edged in a band of silver tube beads. Each triangle that you see is edged in a double row of those same silver tube beads and the interior of each triangle has a pinky-coral glitter fused directly onto the silk, The glitter parts have a little multi-color glitter worked through the coral and this creates a touch of a holographic color feel. These also catch the light wonderfully and add an entirely new dimension to the dress. I love it. Excellent condition

Fully lined in a bright pink silk. It closes with a metal and nylon side zipper. It is tagged a vintage 8. It looks to have been worn very little if at all.

Bust: to 17" flat across from side seam to side seam
Waist: to 16" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 57.5" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3401

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

James Galanos was known as the designer that could rival the French in terms of construction and design. He launched his atelier in 1951 and though he was never a designer that was formally made a couture house he certainly produced clothing with many of the hallmarks that define couture, thus giving him the status as being known as one of the 'American Couturiers'. 

This dress is very unusual and I had a hard time deciding how to best have it sit on the dress form. It definitely works as a halter with the hook placed at the back of the neck. These leaves the upper back entirely bare and open and the ruffles that edge the halter run down the sides of the bust and around the neck. However, it also could potentially work with the hooks done up on the top of one shoulder. It does leave one breast exposed this way but I feel that you could wear it like this and have a bandeau underneath and it would be as amazing. You could also replace the elastic that edges the bodice and it would sit higher. The fabric is beautiful. The top layer is a floral print on a fine silk chiffon. Under that are four attached layers of a solid green silk and at the edges he has set these so each layer's edge can be seen. It gives the dress an opaqueness but it is still light as a feather. The bodice is finished with a ruffle that follows the curve of the fabric there. It wraps and hooks to close and inside there is a little label that says front on the inner waist band so you know which side to place at the front of you. The skirt wraps over itself and fall to the floor in a column of silk. It is fabulous. Excellent condition

Fully lined in the four layers of green silk. Hand finished throughout. It wraps and hooks to close. Elastic through the edge of the halter top. There is a small areas that does not seem quite as tight as the rest of it and I think you could tighten this and it would sit higher and cover the breast on that one side.

Bust: open
Waist: 13.5" flat across from side seam to side seam
Hips: open
Bust: approx 18" from shoulder to waist but meant to drape a bit
Skirt: 43" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3398

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

Pauline Trigere launched her label in 1942. She had moved to the US from Paris in 1937 and her designs always have that bit of a French feel to them. By 1949 she had been awarded a Coty and won one again in both 1951 and 1959. The 1959 win coincided with being inducted into the Coty Fashion Hall of Fame. She as a pioneer in the use of cottons and wool for evening, In 1961 she made headlines for being the first major fashion house to use amply an African American model. The 1972 collection used variations of the floral motif all through it and I believe that this dress us from the spring of that year.

That gorgeous tulip print that has been done in a brilliant green set against a inky black backdrop is the first thing you see. The fabric is a fine semi-sheer cotton voile  that feels like it has a touch of silk in it as well. The fabric choice holds that brilliant color beautifully. The touch of transparency to it combined with setting it over the inner black lining gives it a bit of added depth and really allows the green to pop. The top is has simple lines with an almost box cut through the body. There is the subtlest of gathers along the shoulders for a little bit of detailing. The sleeves are a single unlined layer of the fabric and have elastics at each wrist. This allows then to have a slight balloon effect once it is on. It snaps to close down the front with hidden set snaps and they begin at about the bust area. This then tucks into the skirt whose front is cut in a kind of modified sarong. The front knot that you see is built into the front of the skirt's design and this leaves an little cut out above and below the ties. The skirt then falls from there in one long and lean line. A very high slit runs up the center of the skirt. This is one of those pieces that may look like nothing special off the body or on the dress form but once it is on an actual body it comes to life. It is an unusual design and quite forward for its time period. Excellent condition with one note to review below

Both pieces are lined with a semi-sheer black silk voile except for the sleeves. The top closes with a series of hidden set snaps at the front and elastic in each wrist. The skirt zips to close with a flat hook and eye on the waist band. There is a little tag that says front on the waist band and I believe that it is meant to flip in when on but could easily be worn like a normal band if you moved the little front tag. There is the teeniest of pulls to the fabric above the first snap of the top. With the print and where it is it is negligible. Please see the last photo after the shot of the label 

Top
Sleeves: 25"
Shoulders: 14.5"
Bust-hips: 18" flat across from side seam to side seam
Length: 25" from neck to hem

Skirt
Waist: 13" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 44" from waist to hem
Slit: 25" from hem up

Modern Sizing Equivalent: XS-SML

Item# DD3397

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

This Valentino set is wonderful and even better once it is on an actual body. All four of the original pieces are present which is rare. This is early Valentino Boutique when they were still hand writing out the fabrics on the tag. 

All of the pieces of the set are made out of the same fluid silk chiffon crepe that has a deep blue base with a Italian Roma tomato print. The pieces are all original. There is a cropped halter top, a long full maxi skirt, a sash and a huge shawl. The top is cut with a high neckline and a ruffled collar. The front is set on an angle that curves up towards the neck and leaves a hint of collar bone showing. It is slightly cropped in length and ends up sitting just at the waist with a ruffle detail that picks up the detail at the neck. This leaves the entire top portion of the back bare. This gorgeous little top goes with the long maxi length skirt that is incredibly full. It widens out to almost a full circle skirt when laid out flat with yards and yards of fabric there. A double ruffle circles the bottom hem and ties in with the ruffles on the halter top. When the top and skirt are worn together it gives the effect of a dress except for that sexy peek of skin at the waist. You can wrap the long sash around the waist or use as a head scarf. The shawl can be wrapped and styled around you any way you wish. The shawl is also finished with a ruffle around all its edges to tie everything together perfectly. The set is gorgeous and far better on an actual body them my dress form. This is Valentino at his best during this time period. Excellent condition

The skirt and halter top are fully lined in a black silk chiffon and the sash and shawl are unlined. The halter closes with a painted metal at the back and the skirt also zips to close at the waist. Hand finished throughout. Tagged a vintage Valentino 6

Neck: 13.5" from end to end
Bust: 17" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Length: approx 17"

Skirt
Waist: 12.5" flat across from side seam to side seam
Hips: open
Length: 45" from waist to hem

Sash: 16" x 72"
Shawl: 39" x 116"

Modern Sizing Equivalent: XS-SML

Item# DD3078

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

Jean-Louis Scherrer was on of the great French couturiers in the grand Parisian style. He counted Sophia Loren and Jackie Kennedy as fans in his heyday and his work in the 1970s especially was wonderful. Opulence, hand beading and rich passementerie were his trademarks. He launched his own Haute Couture house after working at Christian Dior and stayed there until his dismissal in 1992. By that time period he had sold out all but 10% of his company. In 1977, the year that this gown was made, he was just reaching the top of his game as a couturier.

This dress, with its matching ruffled silk shawl, is tiny but perfect. I love the soft yellow silk organza that has been used for the skirt and the shawl. This choice of fabric allows it to have the volume that you see but without adding any weight at all. The skirt is cut to skim over the hips and that drops to that first extravagant ruffle. There are three ruffles in total that circle the skirt and each is wide and has yards of fabric in them. The skirt under the ruffles gradually widens as it reaches the hem. The movement and airiness the skirt creates in person is amazing. The shawl is made of the same silk as the skirt and is very long and finished with the same ruffled treatment we see on the skirt. It can be wrapped or just lightly held. Once this is removed that bodice of the dress is revealed and here is the true magic. It is strapless and fitted to the bust which balances against the volume of the skirt perfectly. Tiny sequins are hand placed to create that stunning floral design that you see. The edges of the green sequin leaves are done in the smallest glass tube beads. Little glass crystals edge other parts of the design and create a border across the top of the bodice. The workmanship is exquisite and the care and time to have created the design using only the finest, smallest of beads and sequins is astonishing. The entire dress is finished to Haute Couture standards and it is even more beautiful in person. Excellent condition with a small note to review below

Fully lined in the same silk organza that is used on the exterior. All of the work throughout is done by hand done to the edgings of the inner seams. It zips to close with a painted metal zipper and the exterior skirt snaps to close over the zipper. An inner waist stay hooks to close. The bodice is lightly boned. It will of course close all the way but was small on my dress form. I see one tiny dot of a mark just under the bodice seam and a tiny repair near the base of the back closure. Numbered tag 002576

Bust: 15" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: open
Bodice: 9" from top of bodice to waist
Skirt: 42" from waist to hem
Shawl: 9' long x just over 5' wide

Modern Sizing Equivalent: XXS-XS

Item# DD3393

Reference Photos: (1) 1976-1977 Fall-Winter Women's haute couture runway show.  /  (2) Jean Louis Scherrer with model, 1977.

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

This dress is insanely sexy. It is made out of one of there signature jerseys that is so light and fine that is feels and moves like liquid on the body. When you are standing still it is deceptive as to just how much fabric there is in the dress. There are yards of it, it is just so light and fine that it falls into a more sleek column until you move. The fabric is covered with a fine black and white dot pattern that gives it a graduated design when seen from a distance. They have cleverly played with the placement of the dots to create a secondary stripe feeling pattern with the pattern. This adds length to the wearer in a subtle, gorgeous way. It is unlined and simply ties at the neck which allows you to decide just how low the front triangles should sit. At the back it is cut very low and again the lower you tie it the lower the back dip will sit. However good it looks on the mannequin it looks and feels even better in real life. Excellent condition with one small note to review below.

Unlined, slips on and ties into place at the back of the neck. One side of the ties at the neck is slightly shorter then the other. There is the tinniest of yellowing to the white dots on both sides. You do not notice it all once on because of the pattern., Please review the last photo after the label shot. The fabric has stretch and should fit a variety of  sizes.

Bust: 12-16" flat across from side seam to side seam
Waist-hips: open
Length: approx 59" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# DD3392

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

This dress has a very Lanvin vibe to it but it no longer has any labels so its origins are a mystery. I love it regardless and it is one of those pieces that just make you feel happy when you see it. The top is a basic black jersey  with a simple cut V neck and slim sleeves. This top that fantastic skirt. The skirt is set higher up under the bust and there is a wide band of fabric to give the waist some definition. Under that the skirt widens out and the choice of a crepe for the fabric gives it some natural volume and hold. It combines a graphic print of a mustard yellow, stark black and then pops of a deep blue, orange and red. The simplicity of the top allows the skirt to really shine and take center stage. Excellent condition

The bodice of the top is lined in a black silky rayon and the sleeves and skirt are unlined. It closes at the back with a metal and nylon zipper. It looks to have been worn very little if at all 

Sleeves: 24"
Shoulders: 15"
Bust: 17-18" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 15" from neck to bottom seam of the band at the waist and includes the 4" band
Skirt: 38.5" from bottom seam at the waist to hem

Modern Sizing Equivalent: SML-MED

Item# D615

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

Scott Barrie was one of a group of black designers and models based out of New York's Seventh Avenue in the late 1960s. He quickly became known for his sensual designs and in particular, his evening wear. Naomi Sims was a fan and often was spotted wearing his work. His label closed in the early 1980s. He then worked at Krizia, remaining there up to just before his passing in 1993 of brain cancer. This gives us a very small window for finding examples of his work. The earlier pieces especially were produced in very limited amounts. The very early pieces were made by him out of his apartment on a makeshift cutting table and domestic sewing machine. To me this makes each of his found pieces that much more special.

This dress is stunning and shows his range with fabric and the more romantic side of his work. He is best known for his work in stretch jerseys but I  love this silk chiffon example. This dress has the added bonus of having a all black version of it photoed for Vogue in 1973 so we know the exact date it is from. It is very sexy in a very pretty and romantic kind of way. It is made from a bias cut silk chiffon that is printed with huge pink and coral tropical flowers on a vivid green backdrop. The lightness of the fabric choice makes it feel like the silk floats around you when you move. The bodice is fitted at the front and each sleeve is a pretty flutter of silk. The back is left completely open and bare with a small ruffle of silk edging the opening. It is just absolutely stunning. Excellent condition with a note to review below

Fully lined in a green tissue silk and closes with a low back zipper and ties behind the neck. There are some small marks on the skirt here and there - they do not detract because of the pattern but are present if you inspect it closely and flat with the fabric spread out. I photoed the ones I found and it is priced with this taken into account. The fabric is otherwise strong and stable. The zipper did not do up all the way on the dress form but does close properly on someone the correct waist size.

Bust: variable with no true side seams
Waist: 11-11.5" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Bodice: 15" from neck to slightly dropped waist
Skirt: 42" from waist to front hem, 44" to the back hem

Modern Sizing Equivalent: XXS-XS

Item# DD1262

Reference Photo: Apollonia in Scott Barrie for Vogue US, September 1973. Photo by Richard Avedon.

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 duo behind the La Mendola label met in Rome in 1960 and started their business making dresses and selling them one by one, piece by piece. In 1967 they opened a shop and women like Elizabeth Taylor and Rita Hayworth become steadfast clients who were buying, and even wait listing for pieces as they were produced. They were located in Italy and their atelier closed in 1974.

In the past I had a custom made La Mendola dress come in the shop and the original owner had kept the available fabric swatch options for 1972. The prints were done in house and were named. This dress is a version of the Paridiso print. The fabric is gorgeous. The dress itself is made from their classic silk jersey that took the color and print of their designs exceedingly well. It also has a matching skirt overlay in silk chiffon that uses the same peacock feather print. The pinks used on the print are gorgeous and it is even better on person then how it photoed. The drama and impact that it created once on an actual body is amazing and the skirt adds an extra dimension of lightness and movement. The dress has a high neck and a simple cut through the bodice and sleeves. It skims over the waist and then gradually widens out as it nears the hem. At the back, it closes with their signature, tightly spaced buttons that they always covered in the same fabric as the garment. Over this is goes a silk chiffon split paneled skirt that ties into place. The skirt is a single layer of silk chiffon and is set along its waist band with spacing between the two panels. This leaves a long slit on each side of the dress underneath to show through. Together the are absolutely beautiful. Excellent condition

Unlined and closes at the back with that row of tightly spaced, silk covered buttons. The over skirt ties onto place as you wish. The fabric has stretch and this combined with the easy design of the dress will allow it to work on a variety of sizes. Hand finished throughout. The measurements given are the comfortable stretch when laid out flat. The over-skirt waist is adjustable with the ties. The photo of the swatches is from that previous dress. The actual swatch card is not included 

Sleeves: 22.5"
Shoulders: 15.5"
Bust: 16.5-19" flat across from side seam to side seam
Waist: 15.5-17" flat across from side seam to side seam
Hips: 15.5-20" flat across from side seam to side seam
Length: 60" from neck to hem
Over-skirt: 42" from waist to hem

Modern Sizing Equivalent: XS-MED

Item# DD3389

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

I love Adele Simpson's work. She favored quality and longevity over trends and her pieces were well made ready-to-wear at prices that were attainable for the modern woman. She launched her label in 1949 and remained at its helm until the early 1980s. 

This dress dates to the tale end of Adele's career, from the late 1970's to the early 1980s, and shows her more glamorous side. The fabric is a deep pink lurex lame that has gold metallic thread running through it. The gold is woven through the fabric to create a pattern of dots that cover the entire dress. She then took that fabric and made it pop even more with the addition of a densely beaded detailing at the waist and cuffs. Here we see thick panels of rhinestones, stones, gold braiding and faux pearls sewn into place to create a touch of high glamour. The dress has an equally string cut. The shoulders are padded and the front crossed over itself into a deep plunge. Each sleeve is cut with volume above its cuff. The skirt cascades to the floor with gathers all through the upper portion and a high slit runs up the center at the front. The metallic fabric is lightweight and this allows it to drape and move wonderfully. Excellent condition.

Unlined throughout with partial lining to key areas. It closes with a back painted metal and nylon zipper. Each cuff closes with hook & eye. Padding in each shoulder. The color is a bit more vibrant pink in person.

Sleeves: 26.5"
Shoulders: approx 16"
Bust: to 21" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: open
Bodice: 15.5" from top of bodice to top of band at the waist
Skirt: 40.5" from top of 2.5" band at the waist to front hem, 42.5" to back hem
Slit: 18.5" from hem up

Modern Sizing Equivalent: MED-LRG

Item# DD3388

Reference Photos: Cherie, Owner of Shrimpton Couture.

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

This is a beautiful example of Halston's work during this time period. He was a master at combining function and ease but without sacrificing glamour. He did this with the absolute minimum of seaming that a garment required. His bias cut pieces like this one, sometimes feel somewhat shapeless on the hanger or dress form and it is only when they are slipped on that they drape and settle into place the way they were intended. They seem so very simple but they are not. A similar dress to this example was photoed for Vogue in 1974

The dress is entirely cut on the bias with that minimal seaming signature that I spoke of above. The color is a beautiful clear red that is flattering on most skin tones. It is feather light and it weighs ounces once it is on. The cut through the body is extremely loose and easy. There is an elastic at the waist but it is there as almost an afterthought as it does not cinch in the waist at all. It is more there to give the piece the slightest of shape and add to the soft gathers. The neckline is deep and can be worn with an even lower plunge if you leave the hidden snaps open. There are attached ties above the slit front of the neck and the collar is a double layer of flounced silk ruffles. Each sleeve is soft and full and these end with a ruffle finish. The skirt is full and open. The matching silk sash can be worn wrapped around the waist to add shape. You could also wear it wrapped turban style or at the neck. If the sash is not worn the dress has a more full, caftan feel and will land between mid-calf and ankle length depending on your height. If cinched at the waist, the length pulls up more to land between knee and calf. Excellent overall condition with a note to review below

The body and skirt of the dress are constructed from two layers of bias cut silk chiffon. The sleeves and shoulders are unlined. It is entirely bias cut and just slips over the head to wear. Ties at the neck and a very wide elastic at the waist. Each cuff is finished with elastic above the ruffled ends. The sash is original. Hand finished. Note that there are some marks on the front skirt toward the side closer to the hem. The volume and cut effectively hide these once on but they are there. I photoed ir for your reference and it is shown in the photo after the label shot. The easy cut will allow it to fit a full range of sizes

Sleeves: approx  23"
Shoulders: no defined shoulder seams
Bust: to 22-25" flat across from side seam to side seam
Waist: to 20-23" flat across from side seam to side seam
Hips: open
Bodice: to 20" from top of bodice to dropped waist
Skirt: 35" from dropped waist to hem

Modern Sizing Equivalent: SML-XL

Item# DD2992

Reference Photo: (1) Model wearing Halston. Photo by Richard Avedon. Vogue US, December 1974.  /  (2-3) Cherie, Owner of Shrimpton Couture, by Erin Leydon.

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 Nina Ricci Haute Couture house was founded in 1932, at 20 Rue de Capucines in Paris and became one of the pre-eminent couture ateliers in the world. In 1964, Gérard Pipart succeeded Jules-François Crahay, Nina Ricci's former designer assistant who took over the atelier in 1954. Over the following three decades, his Haute Couture vision "celebrated a flamboyant woman and his ready-to-wear found a loyal following among the most stylish women of the day." This late seventies gown is a wonderful example of Pipart's vision for the house and is a stunning example of the work that the atelier was producing during this time period.

This dress is spectacular. One of the best Ricci pieces I have seen and just a fabulous dress regardless. It has the Haute Couture label for the house and every stitch is done by hand. The hours that would have been put into making this dress and ensuring that drape is line are perfect are mind-boggling. The dress is made out of a fine silk done in a crisp clear red that is a touch brighter and clearer in person. This fabric choice gives it that fantastic drape and when you move, the fabric is so light that the various draped parts seem to just float behind you. The neckline is slightly scooped and the silk is gathered up on one shoulder. It skims over the waist and into a low drape over the skirt. There is another gathering of the silk there but this time on the side opposite to the draped shoulder. The creates a lovely long line through the body. The skirt flows in a single layer of silk from under that. It is cut on an angle at the hem and one corner of the back skirt is left longer so that it trails down and past the floor. That same side has a slit up the leg and a tightly spaced row of buttons that run up from there and disappear under the drape of the bodice. The sleeves are amazing. They are each cut to drop to the floor and flow around you every time you move. Here Pipart has again played on the asymmetrical feel he has created for the dress and he has cut one sleeve to be longer then the other, with the longer one set on the same side that the skirt is longer. The final touch is that fabulous pleated double flower at the neckline that gives it the perfect finish. This little extra detail creates that last bit of high drama to the design. Excellent condition with some small notes to review below.

The body of the dress is fully lined in red silk crepe and the skirt and sleeve are unlined. It closes with a side, hand set, zipper and a second one at the top of the shoulder where the flowers are. Light padding in the shoulders. Finished to Haute Couture standards and entirely made by hand. Note that there is some grubbiness on the trailing parts of the silk panels and some very tiny areas of thinning/picking of the fabric on the lower trailing panel of the skirt especially. Some small areas of darkening on the sleeves. Once on these do not detract at all and the fabric and dress is strong and stable. This is more from not being stored properly prior to my acquiring of it. I have included photos after the label shot to review. It is cut on the boas so there is a little play on the measurements. Haute Couture label present and made to couture standards.

Sleeves: the left is approx 62", the right is 52"
Shoulders: 15.5"
Bust: to 16-17.5" flat across from side seam to side seam
Waist: 12-14.5" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: approx 60" from neck to front hem and the trailing panel extends another 15" longer

Modern Sizing Equivalent: SML-MED

Item# DD3386

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

This coat would have been designed while Youssef Rizkallah headed the company. Youseef joined the Malcolm Starr label in 1969 and remained as the head designer until 1975. The years that Youssef headed the line are among some of my favorites and in particular his pieces that utilize quilting and patchwork are truly iconic. Rizkallah was born in Egypt and studied at the Ecole de dessin appliqué and the Ecole des arts decoratifs in Paris. His designs seem to combine that sense of couture lines that he gained in Paris with the color and vividness of his homeland.

This is a wonderful piece that can be worn as either a coat or a dress thanks to the zip front that completely opens. It has the added provenance of being the twin to the one featured in the ad campaign for 1970. The base of the coat is a black fabric that feels like a light wool that has a slight ribbed texture in it. The entire coat is detailed with a combination of a red braiding and red ric rac that follows the lines of the coat so emphasize the pattern and cut. Elaborate designs adorn run over the body of the piece and all around the hem. Pops of a white cotton are used to  create even more drama. A floral patchwork is set into all of this on big curving and angular cuts that anchor the design and give a pop of contrast to the the starkness of the red, black and white. The collar has a beautifully curved cut out to it and the skirting of the piece flares out dramatically and is quite wide. The sleeves are deliberately kept simple so that all you see is that spectacular design through the body of the dress/coat. It is dramatic, wonderful and rare. Excellent condition

Fully lined in a hand set red silk and closes down the front with an unpainted silver zipper. It appears to have been worn very little if at all. Tagged a vintage 8

Sleeves: 22"
Slightly dropped shoulders: 16.5"
Bust: 17" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Hips: open
Length: 44" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# C536

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

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

This vintage Lanvin skirt would have been 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 realm is one of my favorites for the house and the period through the late sixties and into the 70s in particular. He was a genius at print and color and he pushed the envelope in terms of using the "new" jerseys available during this time period. This skirt has a boutique label present

This skirt has such a bright mix of color and print. The jersey fabric it is made of was considered one of the new "miracle fabrics" of the day as they gave women the option to wash and wear and travel with pieces that needed little or no ironing once you arrived at your destination. Lanvin began producing pieces from these jerseys in the early 1970s to appeal to their younger, jet set clients and I love when I find great examples of these and this time period in the label's history. The skirt falls to the floor and slightly widens as it nears the hem. There is a band of a more fitted part that wraps around the low waist with a seam under that the the lower part of the skirt is set into. I love the print pop art floral print and that color combo of purple and green with pop so a vivid pink. The skirt feels fuller in person. Excellent condition

Unlined and closes with a painted metal zipper. The waist is set and has no give

Waist: 15" flat across from side seam to side seam
Hips: open
Length: 42" from waist to hem with 4" turned up under the hem

Modern Sizing Equivalent: MED-LRG

Item# S899

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

This stunning and rare gown was designed by Bob Mackie. Mackie shot for fame with the work he did dressing Cher. The best of his work is dramatic and opulent and he was a master at print and color. He worked for both Edith Head and Jean Louis, where he drew Marilyn Monroe's famous 'Happy Birthday, Mr. President' dress, prior to working as a costume designer and co-designing with Ray Aghayan. That led to his incredible journey in designing for stars like Cher and Diana Ross for many years. In many ways it was his work and his creations that really defined their careers and helped to shape that entire idea of high glamour.

This is an extremely gorgeous Bob Mackie dress done in a vivid floral silk chiffon. The bodice is fully formed and molded inside and the silk is then draped and shaped over that inner support. It is set so that is created a large cross over at the front which highlights the shape of the bust and emphasizes the high peak of the front bust line. The skirt flows out from under there with panels of silk chiffon that float around you and cascade to the floor. There are literally yards and yards of fabric through that skirt and when you move it is just incredible. It is cut to cure up at the front and under the top print layer are two more layers of a solid coral silk chiffon. All the silk is cut on the bias so it has incredible movement. The dress comes with its original matching cape piece. This buttons at the neck and is cut to mimic the curve of the skirt. The color is a bright tropical feeling print and it is truly one of the best dresses of his that I have seen. Very high end and very dramatic. Excellent condition with one small note below

The bodice of the dress is fully lined in a red silk. The skirt has two inner layers of coral silk that follow the line of the outer layer. The bodice is shaped and and fully boned inside and has an inner waist stay that hooks to close. It then closes with a back painted metal zipper. Hand finished throughout and hand rolled edges. There are some small repairs to the edge of the hem of the cape

Bust: to 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 12" from top of the high peaked bodice to bottom of inner waist
Skirt: 45" from waist to longest part of hem
Cape: approx 60"

Modern Sizing Equivalent: SML-MED

Item# DD3384

Reference Photos: Cherie, Owner of Shrimpton Couture.

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

I have held this in my archives for several years now and I think that it is a stunning example of the fur pieces being produced at this point in Christian Dior's history. I am no expert on furs but believe this it is some type of a sheepskin that has been brushed out. Perhaps a Shetland sheep or something of that ilk. You can see in areas where the undercoat is very curly. The color is a combination of creamy ivory mixed with a pale taupe that has an almost pink cast to it in some areas. It is a little bit paler in the photos then how it is in real life. The fur is very soft soft and very fluffy. It is done in rows of fur that are interspersed with rows of a golden colored grosgrain ribbon. The collar is big and oversized. It is cut in a classic coat style with a flared bottom. Fur hooks run down the front and pockets sit along the horizontal row on each hip. The sleeves are cut straight and full and the collar is a classic notched wide collar.  It has been properly stored and cared for and appears to have been worn very little if at all. No splitting, issues or shedding. Excellent condition with a minor note below to review.

Fully lined in a deep taupe silk that is embroidered with the Christian Dior name throughout. It closes with the fur hooks down the front. Pockets on each hip. I see no bald spots or shedding, the pelts are supple and soft. There is slight wear at some of the common points - edges of the sleeves. the inner edge, but it is very minor. For a vintage fur from such an important designer, I still rate this as near excellent. The fur has no odd odor, is still supple and is stable with no signs of excessive shedding that would indicate that it is breaking down. 

Sleeves: 24"
Shoulders: 15.5"
Bust: to 20" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: 21" flat across from side seam to side seam
Length: 44" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# C533

Reference Photos: (1) Models in Christian Dior fur coats, L'officiel Magazine, 1971.  /  (2) Christian Dior Coat from The MET Collection.

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

I have a small collection of historically important, key designer labelled vintage furs and fur trimmed pieces stored away in my archives that I will be slowly posting on the site over the next couple of years until I have none left. I will no longer be buying furs for the shop moving forward and have not purchased anything for several years now. I feel like times have changed and while there still is a place for vintage furs for some, including collectors and historians, many modern girls are choosing other options. Many of the pieces in my collection are representative of the designer during a set time period in history that was different then our modern outlook. I have decided that the best course to handle this controversial issue is to let the pieces I have go rather then sit in a cold storage unit. Fur coats are final sale.

This beautiful two piece set shows what a master Yves was with print. The top and skirt share the same floral print and instead of that being overwhelming it only serves to give the illusion that it is a dress instead of the two pieces. Yves was a master at taking fine silks and simple designs and then adding romantic, feminine elements to create something uniquely Laurent in feel. Both pieces are made from a high quality silk. This allows them to move and drape wonderfully once on the body. You will see a lot of his pieces made from this silk during this time period and for good reason. The top has an easy to wear cut and sits loose on the body. It buttons at the front neck so that you can leave it open or close completely to create a higher neckline. There is an attached tie belt at the waist that allows you to add shape. Each sleeve has a pretty amount of volume over the 3" cuff. The skirt hooks and zips to close. It is cut to flows over the hips and ends just past the knee. It is more fitted around the hips and then the pleats opens to create some volume. Excellent condition

Both pieces are unlined. The top buttons partially down the front and has three buttons on each cuff. The skirt zips and hooks to close. Has its original tie belt attached lightly to the top. Both pieces are tagged a 36

Skirt
Waist: 12" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 26" from waist to hem

Top
Sleeves: 24.5"
Shoulders: 14"
Bust: 17" flat across from side seam to side seam
Waist: 16.5" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 25.5" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD3379

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