• This is a well documented butterfly print Thea Porter dress from Spring 1970.
• It was made under the creative direction Thea Porter. 
• 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. At the time they were referred to as 'Gipsy' dresses although our modern sensibilities no longer refer it to them as that. 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.
• The butterfly print was by Sheila Hudson and we found references of variations of it on several items. A 1970 evening suit is a part of the V&A Collection. Talitha Getty wore a dress over green trousers to the Paris Casino for a night out with Rudolf Nureyev in 1970 and that photo can be seen in the book 'Thea Porter: Bohemian Chic by Laura McLaws Helms and Venetia Porter.'. Joan Collins and Jackie Collins both wore the print attending the West End premiere of the musical 1776 in London in June 1970 and a dress with the print was shot for British Vogue that June. In modern times, Nicole Ritchie wore a very similar version in 2006. 
• 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 this is a direct quote from the book). 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.'
• I love that although this is a classic Thea dress it still kind of 'breaks the rules' for these dresses and uses only the one fabric for the entirety of the piece. Which also illustrates the importance that Thea held Sheila's designs in.
• The neckline scoops down in that curved squared off cut these dresses have. A green velvet ribbon details the cut of the bodice and more velvet defines the waist. 
• The sleeves are a single layer of the butterfly printed silk chiffon and have a touch of transparency to them. They are magnificently full and each one puffs out above an elastic cuff.
• The skirt is two layers, an inner green layer and then floating over that is a bias cut of the same butterfly printed silk chiffon that the sleeves are made out of.
• The silk of the skirt starts just under the velvet band at the waist and it flares out in yards of silk. It has that perfectly imperfect hem described above with the sides falling slightly longer then the centre. 
• 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. The dress is unlabelled. I see slight overall patina to the velvet ribbon. It is an incredible dress
• There is no size tag present. Please go by the measurements listed below.
• Excellent condition with the note above. 

Sleeves: approx 25" and they are full and open through the upper arm.
Shoulders: no true seam since they are inset
Bust: to 19" flat across from side seam to side seam
Velvet ribbon under the bust: 15" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: open
Bodice: 11" from shoulder to the top of the velvet ribbon under the bust, 16.25" to waist seam
Total length: 48" from shoulder to longest points of hem

Modern Sizing Equivalent: SML-MED

Item# DD5813

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 dress dates to the time period between 1976-1978.
• It was made under the creative direction of Loris Azzaro.
• 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 and Tina Turner. 
• 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. 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.
• The dress combines glossy black sequins with a netted tulle skirt.
• The dress is strapless and the bodice is cut with a rounded sweetheart neckline. The cups are shaped and the dress curves down and over the waist. From there is continues back out to curve over the hips.
  
• This entire extended upper portion of the dress is completely covered in glossy black sequins that catch the light from every angle. The sequins have been applied to the dress so that they each overlap the one next to it creating a dense application.
• Under that the skirt falls to the floor and widen out as it near the hem. 
• The skirt is made out of of a netted tulle that is set in ruffle layers that curve up and toward the front. The layers of ruffles give the skirt incredible movement when you move. A full underskirt sits under that and is done in a black silk so that it's opaque enough to wear.
• At the back the length of the bodice is extended a bit before the skirt starts. This is a clever way to create curves and length.
• It is a stunning dress and one of the best I have had from him.
• The dress is fully lined in a black silk and closes with a zipper at the back. His signature cupped strapless bra is tacked inside. You could easily remove or replace this as needed for a better fit. There is elastic around the upper seam of the bodice and the fabric has some give. Hand finished throughout.
• There is no size tag present. Please go by the measurements listed below.
• Excellent condition

Bust: to 17" flat across from side seam to side seam
Waist: 14-15.5" flat across from side seam to side seam
Hips: 18-19.5" flat across from side seam to side seam
Total length: 56" from the top of the bodice to the hem

Modern Sizing Equivalent: SML-MED

Item# DD5800

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 twin of this dress walked the runway for the Spring 1978 collection.
• It was made under the creative direction of Yves Saint Laurent.
• We found a reference photo from the runway and it's twin was also used in the ad campaign that season.
• The reference photos show the dress with a sash that is in a solid print. When the dresses were produced and sold in the shops they were sent with matching dotted tie belts.
• I have photoed it here both loose and easy without the tie belt  so you can see how it can be worn as more of a caftan feel and with the belt tied to add shape.
• The dress is made out of a single layer of a black silk chiffon with a multi-colour dot print screened onto the chiffon. It is extremely light-in-weight and moves very beautifully.
• The neckline of the top is set wide across and has an elastic finish so that you can wear it off of the shoulder for a bare expanse of skin to show. I love the little ruffled detail along the edge that the elastic gathering creates.
• Sleeves extend straight out from there and are extremely full and open. They are brought in at the cuff and he repeated the same elastic gathering detail just like on the neckline.
• Under that the dress skims and opens to be very full and easy all the way down to the hem. This gives an incredible movement around you because of the ultra-light weight of the fabric.
• To get a more defined feeling through the middle you just tie the belt and cinch it in as much as you wish. On the runway and in the ad campaign it was styled belted with a solid wider sash. I love that it shows that by changing up the look of the belt it changes up the look of the dress.
  
• It is very full by the hem and I love how the bottom is finished with a very wide band of the same fabric. The front is cut shorter than the back and that extra ruffle around the bottom and the changing length all help to really allow it to move around you.
• This is an absolutely stunning example of his work during this time period and I love that it is so well documented.
• The dress is unlined and it weighs very little. It slips over the head to wear with elastic through the neckline. Each shoulder has a little less elastic which is purposeful. Each cuff has elastic. The open and loose cut should allow it to fit a wide range of sizes. The belt is original to the dress and is included. It appears to have been worn very little if at all.
• The dress is tagged a YSL 36
  
• Excellent condition

Sleeves: approximately 25" and the upper arms are very full and easy
Bust: "16-23 flat across from side seam to side seam
Waist-hips: open
Total length: approximately 47" from top of bodice to shortest point at the front and the back falls to approximately 59" at the hem

Modern Sizing Equivalent: OSFA

Item# DD5795

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 twin of this dress walked the runway for the Spring 1977 Dior show.
• It was made under the creative direction of Marc Bohan.
• I have had several other dresses from this collection and it is a personal favourite season in Dior's history.
• I am very happy to have photo references so you can see how fantastic this dress sits on the body and how it can also be worn belted for added shape.
• The dress is made out of a feather light silk chiffon and comes with its original matching ivory silk slip that can be worn underneath.
• I shot the dress with the shoulders up because the slip underneath has a little straps. On the runway it was shown off the shoulder and I love that you have the option of wearing it either way.
• It has a red and two different blue tone abstract stripe print that runs over the entire dress. You can see how he has manipulated the directions of the stripe to highlight the detailing and shape of the dress.
• Matching ties run through the neckline and this is what allows you to bring the neckline in or to wear it more loos and off of the shoulder. Two more ties close the front under that.
• The sleeves are fantastic. They are very wide where they come out from the body of the dress and then are gathered in at the wrist. They each have a little tie bow and elastic around the cuff with a ruffled finish.
• The body of the dress is very full and open and should fit just about any size.
• I love the inset at the front and how it has just the perfect amount of detail and contrast with the stripes going the other way.
• Around the hem is a wide band that also has the stripes placed the other way to the rest of the dress.
• At the back it falls with a more caped feel if you choose to wear it without a belt. If you do add a belt, you can bring the length up as much as you wish. The styling possibilities are endless.
• The outer dress is unlined and it comes with its matching inner slip. You could switch the switch out for another colour to get a different feel. The dress slips over the head to wear and then ties at the front as described above. The inner slip zips to close at the side. I see some minor pulls in the silk here and there. Please see the photo after the label shot. It is an extraordinary dress from this time period. The dress should fit pretty much any frame and you could always wear a different sized slip underneath if you need more room. Hand finishes throughout.
• There is no size tag present. Please go by the measurements list listed below.
• Excellent condition with the minor note above.

Dress
Sleeves: approximately 22"and they are full and open around the upper arm
Bust:-hips: to 33" flat across from side seam to side seam
Total length: approximately 56" from shoulder to hem

Slip:
Bust: 17" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Total length: 48" from shoulder to hem

Modern Sizing Equivalent: Outer dress OSFA, slip SML-MED

Item# DD5793

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 twin of this dress walked the runway for the Spring 1976 YSL collection.
• It was made under the creative direction of Yves Saint Laurent.
• On the runway the skirt was pulled up more than how I have shot it here and I love that that shows you how versatile the dress is in terms of how you can wear the length.
• A similar dress was also used for the ad campaign.
• The dress is made out of a light floral printed pink silk jersey that has some stretch to it and drapes beautifully over the body while keeping light in weight.
• The neck line is set wide across so you can wear it off of the shoulder for a bare expanse of skin to show. An elastic is woven through the top of the neckline so you could also wear it up and on the shoulders if you wished.
• The sleeves extend out from there and are cut to just above the elbow. Their ends have elastic which allows you to change their length on your arm and how they sit.
• The bodice skims down to an elastic waist and this tops, a another panel of the same fabric that also has an elastic band that goes all the way around.
• The two bands of elastic are what let you choose how high to wear the dress around your waist and hips. You can dramatically change the length from a very long full length to something more like what you see on the runway. Bringing the dress up just allows the silk jersey to drape more over the layer underneath.
• The skirt is under the final band of elastic, flares out slightly as it reaches its hem. When the dress is laid out flat, it is extra long and then once on adjusting where the elastic band sit determines the final length.
  
• This is an absolutely stunning example of his work during this time period and one of my favourite pieces I have ever had in by him.
• The versatility and ability to style. The dress in multiple ways is just fantastic.
• The dress is unlined and slips over the head to wear with elastic as described above. It appears to have been worn very little if at all.
• Tagged a YSL 40
• Excellent condition

Sleeves: approximately 16" and they are very full around the upper arm
Bust: 16-20" flat across from side seam to side seam
Elastic waist: 11-17" flat across from side seam to side seam
Lower elastic band: 14-22" flat across from side seam to side seam
Bodice: approximately 15" from top of natural shoulder to elastic waist and there is 16" between the two elastic bands
Total length: 70" from top of natural shoulder to hem and then you can shorten the length by how much you adjust where you wear either elastic band

Modern Sizing Equivalent: XS-MED

Item# DD5776

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 great little printed Leonard dress dates to the 1970s.
• The Leonard Paris label began as a textile firm in 1954 and for the first four years of its existence it only produced fabric. In 1958 they started making garments but it was not until about 1970 when they started using a printed silk jersey for the majority of their collections that the label really took off. They are often compared to Pucci and during the seventies the two labels battled it out to be the label of choice for the jet set.
• I love whenever I get a fabulous Leonard dress into the shop and this one is the twin of one I had in the shop several years ago.
• Leonard dresses are so chic and they are also very easy to wear and travel with. 
• This one is made out of one of their signature silk jersey fabrics combined with a silk chiffon for the sleeves.
• This silk jersey fabric choice is what gives these dresses their perfect drape and fit. Each of their dresses were made with a custom designed print.
• The dress has a solid black full length skirt topped by that pretty bodice. The floral print runs over the sleeves and the entire upper bodice. The colours are a beautiful mix of pinks, pale purples, ivory, taupe and black.
• The flower print is large and very pretty. At the front the bodice plunges right to the slightly high set waist. At the base of the plunge is a tie that extends out from the fabric on either side of the bust and lets you to pull it in and adds the prettiest detail.
• The tie is silk jersey on one side and silk chiffon on the other.
• Each sleeve is cut to puff and balloon out over the jersey cuffs. The sleeves are made of a silk chiffon so have the added charm of being slightly transparent.
• Under that the skirt skims over the body and flares out slightly as it nears the hem.
• I love the contrasting borders that define the neckline, cuffs and waist. It is a beauty.
• The dress is unlined and closes with a back zipper. The printed part of the fabric is signed throughout. Each sleeve buttons to close on the cuff. I see the faintest bit of colour transfer at the back. Please see the photo after the label shot.
• There is no size tag present. Please go by the measurements listed below.
• Excellent condition.

Sleeves: approx 24" and are very full through the upper arm
Shoulders: 15"
Bust: 16-18" flat across from side seam to side seam
Waist: to 14.5 flat across from side seam to side seam
Hips: 18.5-21.5" flat across from side seam to side seam
Bodice: approx 12.5" from top of shoulder to top of the 1.5" printed band at the waist
Total length: 57" from top of the shoulder to hem with just under 2" turned under the hem.

Modern Sizing Equivalent: XS-MED

Item# DD5768

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 twin of this dress walked the runway for the Fall 1979 Bill Blass collection.
• It was made under the creative direction of Bill Blass.
• I have had the twin of this dress in the shop a few years ago and I was very pleased to find another.
• 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.
• If you prefer not to wear fur you could easily remove the cuffs and replace them with a faux version, feathers or anything you could imagine, or leave them without and just store the cuffs for archival purposes.
• This dress is one of the best that he ever made and it is a wonderful example of just how sophisticated and glamorous he could be in his work.
• The silk chiffon is feather light and I love the fine metallic gold thread that is woven through the silk to create vertical stripes. 
• Onto those tiny stripes of the skirt are hand applied gold sequins that catch the light beautifully to add extra texture and glamour to the dress. Worked into the silk chiffon itself is a subtle leaf print that also adds a beautiful visual texture. 
• The bodice skims over you and crosses over itself with a built in brown silk camisole that acts as the lining. 
• The shoulders are soft and the sleeves extend directly out from the bodice and narrow slightly as they reach the cuff. The cuffs are both finished with a seven inch band of mink. 
• 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 becomes more of a soft brown around the lower hem. A slit runs up the front for a little leg to show. 
• The dress is fully lined in brown silk chiffon and closes with a hidden set back zipper. Hand finishes throughout and hand set sequins. The cuffs are soft and they have perhaps the very slightest of wear to the edges. This one does not have its Bill Blass tag present, but has the appropriate size tag and a Saks Fifth Avenue tag inside. 
• Tagged a vintage Bill Blass 6
• Excellent condition

Sleeves: approximately 27" 
Shoulders: no defined seam
Inner bust: to 16.5" flat across from side seam to side seam
Waist: to 12" flat across from side seam to side seam
Inner hips: to 18" flat across from side seam to side seam
Bodice: 15" from the top of the shoulder to waist
Total length: 57.5" from the top of the shoulder to hem and the front slit is 19" from the hem up

Modern Sizing Equivalent: XS-SML

Item# DD5761

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.

• This set is from the early to mid-seventies and comes directly from the Client, who got it from Gres atelier
• It was made under the creative direction of Madame Gres.
• Gres' work has had profound effects on Haute Couture and her influence still resonates to this day. Her attention to detail, master draping techniques and respect for the female form is unparalleled.
• She was known for designing and creating garments directly on her models and this became a signature of her work.
• She opened her first atelier, La Maison Alix in 1932. A partnership briefly changed the house's name to Alix Barton and then the label went to simply Alix. In 1942 she married, and the label made its last change to became Madame Gres, which was a partial anagram of Serge, her husband's first name.
• Her work spans over five full decades with the vast majority of it, with the exception of a short-lived RTW line begun in 1980, dedicated solely to creating Haute Couture. She is one of the greatest couturiers of our time and her pieces are very rare and hard to find.
• This is an amazing vintage true Haute Couture set. 
• I love the camel coloured wide legged jersey pants with their wide cut legs. The jersey they are made out of is the soft wool that she used extensively during this time period and it has a soft finish to it that looks and feels heavenly once on.
• The pants are banded at the top with a wide gathered sash of a pale yellow jersey for contrast to the camel colour below. This hooks to the one side and there is built-in boning at the sides to hold its shape around the waist. It is a touch wider on one side then the other to create a pretty curve. The pants fall to the floor and widen out to be 64" around at each hem.
• The top has a metallic finish to it. The silk has actual metal thread woven through it and this gives it a subtle glint from all angles. A design runs through the silk and the metal thread is woven onto that in a floral design.
• The neckline is scooped and it skims over you to the waist. The sleeves are long and simple.
• It ties into place at the back with ties made of the same fabric. These sit on an angle that starts at the neckline, run across to one side and then go straight down to the hem of the top. This leaves a little bare expanse of skin showing between the ties.
• I photoed the top both un-tucked and tucked as it can be worn either way.
• Both pieces have a Haute Couture label in them and the top has an additional handwritten numbered tag inside.
• This is an incredible and rare opportunity to own a beautiful piece of her work and it is that much more versatile with the two pieces since you can mix and match with pieces from your exiting wardrobe.
• Both pieces are unlined and have been completely finished by hand. The pants close with hook and eye at the band and a zipper under that. There is a minor repair to the jersey inside the inner structure of the band and then one of the fold along one side. Both only show internally. The top ties to close at the back.
• There is no size tag present because it is true Couture. Please go by the measurements listed below.
• Excellent condition

Top
Sleeves: 21"
Shoulders: 14"
Bust: 17" flat across from side seam to side seam
Bottom seam: approx 12-13" flat across from side seam to side seam
Length: 12" from shoulder to hem

Pants
Waist: 12" at top of band and narrows to 11.5" flat across from side seam to side seam of true waist with room in the seams available to let out a bit if needed.
Band: 3.5" high on the boned hook closure side and the other side widens to approx 9"
Hips: open
Length: 40" from true waist to hem
Inseam: 29"
Rise: 15" from true waist to inner seam

Modern Sizing Equivalent: XS-SML

Item# DD5750

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 Christian dress is from the Spring 1972 Haute Couture collection
• It was made under the creative direction of Marc Bohan 
• In the book 'Dior Catwalk' it notes that the New York Times exclaimed, that "romance, contemporary style, is the provision look for spring." It goes on to declare that Bohans collection for Dior was the best of the season in Paris. "Mark Bohan succeeded in bringing back the fable elegance without becoming historical. There's no pinpointing of the 1930s or 1940s. The clothes look really contemporary".
• I love that we have reference photos so you can see how the dress looks like once in the body. 
• The dress would have been made completely by hand in the Paris atelier.
• It is made out of a beautiful lightly starched blue silk gazaar that is woven on the bias. This is a difficult technique to achieve and allows the dress to retain its more sculptural structure and shape while keeping the dress light in weight. 
• It is cut to sit fully off the shoulders to leave a bare expanse of skin showing.
• Each sleeve is cut to just above the elbow and has a beautiful five inch ruffle flaring out all the way around.
• It skims over the bust and curves in a touch at the waist. The shape is all achieved by the immaculate cut of the fabric.
• Inside there is a full boned inner corset that extends down to the top of the hips. The silk glides over top of this perfectly.
• From there it curves back over the hips and then widens out beautifully to the hem. The entire hem is finished with an eight inch wide ruffle that picks up on the detailing of the sleeves to perfectly tie all of the elements together.
• As good as this dress looks in the photos it is even more beautiful in person.
• The dress is lined in a hand set blue silk organza. The inner corset closes with its own zipper and there is an inner partial waist stay that hooks to close inside the corset. The dress zips to close over that at the side. All of the work is done by hand to Haute Couture standards. It has its proper numbered Couture tag inside.
• There is no size tag since it is true couture. Please go by the measurements listed below.
• Excellent condition

Sleeves: 9.5" and they are 11" around the upper arm
Inner bust: to 16" flat across from side seam to side seam
Inner waist: to It has its proper numbered Couture tag inside. It has its proper.12.25" flat across from side seam to side seam
Hips: 19-21.5" flat across from side seam to side seam
Total length: 55" from top of bodice to hem

Modern Sizing Equivalent: XS-SML

Item# DD5709

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 dates to the late 1970s, maybe early 1980s.
• It was made under the creative direction of Richard Blackwell.
• The Mr Blackwell label was launched by Richard Blackwell in the late 1950s and even at that time his dresses sold for between $800 and $1000 which in modern dollars converts to up to $10,000 a dress. He dressed many of the big stars of the day including Jane Russell, Dorothy Lamour and Jayne Mansfield.
• His custom label was pieces that were made-to-order and were one-of-a-kind pieces that were fitted to a specific client in the couture tradition.
• During the 1960s he became the first in history to present a collection during a television broadcast and he is also the first to be attributed  making for his line available for plus-size women. This is a beautiful example of his work during this point of his label.
• The dress is made out of a very pretty brightly printed black jersey that holds the shape and volume very well.
• The dress has a fairly simple silhouette. The inner dress is meant to skim over the body all the way to the floor, and then there is an attached piece around the neck line that falls over the upper shoulders.
• The front is set a bit wider across the neck and then the back scoops down into a V to add an unexpected flash of bare skin
• A little extra shape is added by the matching tie belt that is made out of the same fabric. I have topped it into a bow that sits just under the edge of the cape for these photos. You could easily wear the dress without it or change it for a wider more substantial belt.
• The there are no sleeves on the inner dress. Instead, the single layer of matching jersey is attached around the edge of the neckline. It is just under 15" in width at its widest point and it drapes over your shoulders and down the top of the arm. This continues all the way around front to back to give you that lovely cape effect that you see.
• Under the cape, the dress is meant to skim over your bust, waist and hips. Once past the hips it widens out slightly to the floor.
• The perfect finishing detail is the addition of hand set sequins that sit over the print of the cape portion of the dress. On the lighter colours they are a clear sequin with an iridescent finish, and on other colours they chose sequins to match the colour underneath. This lets the dress have a subtle glimmer in the light.
• The dress is fully lined in a black stretch jersey and it closes at the back with a zipper. Hand finishes throughout. It appears to have been worn very little if at all.
• There is no size tag present. Please go by the measurements below.
• Excellent condition

Cape: is just under 15" it's widest point
Bust: 16-19" flat across from side seam to side seam
Waist: 14-16" flat across from side seam to side seam
Hips: 17-20" flat across from side seam to side seam
Total length: 58" from top of the shoulder to the hem with approximately 3.5" turned under the hem.

Modern Sizing Equivalent: XS-MED

Item# DD5700

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 label in the dress dates it to the 1970s.
• It was made under the creative direction of Ronald Amey.
• In the 1960s and seventies if you wanted to wear something with a dramatic flare then you chose the work of Ronald Amey.
• He was known for his original use of fabrics and colours and his dresses were priced in the thousands even back then. 
• His career was very short-lived. From 1959-1969 he designed under the label Burke-Amey. Joseph Burke, his partner, took care of the business side of things. In 1970s he bought out Burke and renamed the company Ronald Amey where he continued to produce his dramatic clothing until the label closed in 1976. This gives us a very precise window for the date of this dress.
• His clothing was high in quality and he incorporated many couture level details into their construction. All of his pieces were sewn in-house at his New York atelier and I consider them to be demi-couture level.
• One of his signatures was to combine prints, fabrics and detailed embellishments in interesting, unusual ways and this dress is a wonderful example of that. This is an absolutely beautiful dress and I think that in person it is even better.
• The neckline is high and the cut velvet detailing on it runs wide across the tops of the shoulders and down into the bodice in the fantastic pattern you see. The bodice is cut to curve and skim over the body and then it comes in at the waist with a more generous feel.
• The shoulders are soft and the sleeves extend out from the top of the shoulder. Each sleeve is cut to be full above the cuffs. The cuffs are finished in that same cut velvet used on the bodice and I love the iridescent facetted round buttons that define each cuff.
• From under the seam of the bodice the skirt falls to the floor. It is gathered in around the waist and then widens out as it near the hem.
• The mix of fabrics on the dress is spectacular. The cut velvet mixes an earthy mustard on a brown silk chiffon base. All of the edges where that is used are finished with a gold metal braiding. Under that on the bodice is a floral silk chiffon with pops of turquoise and purple.
• The skirt is made out of a heavier silk that has a gorgeous abstract floral print. The fabric has painted silver and gold parts to highlight the print and you can feel the paint sitting on top of the fabric.
• The very bottom of the hem is edged in a printed black band. Under that on the inner hem is another band of printed colour. You may be able to let that band down if you wanted more length and for that to show. Even if kept turned under it is an incredible and unexpected flash of colour when you move or sit.
• It is a phenomenal dress that showcases how beautifully patterns can be mixed. He was a genius at this and known for his mixing of unexpected prints and patterns and fabrics.
• The dress is fully lined in a black silk throughout including the sleeves. It is entirely hand finished and closes with a back zipper. Each cuff has three dome buttons and hand made silk loops. The dress appears to have been worn very little if at all. The dress is even better in person. 
• There is no size tag present. Please go by the measurements listed below.
• Excellent condition

Sleeves: approximately 24" and they are 14.5" around the upper arm
Shoulders: no defined seam
Bust: to 19" flat across from side seam to side seam
Waist: to 15.5" flat across from side seam to side seam
Hips: open
Bodice: 12" from neck to waist
Total length: 58.5" from neck to hem and the hem under 4" wide

Modern Sizing Equivalent: SML-MED

Item# DD5669

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 gorgeous dress is a true couture piece from the Fall 1970 Haute Couture collection.
• It was made under the creative direction of Marc Bohan.
• The book Dior:Catwalk noted that the Vogue proclaimed that "Any woman anywhere on earth would want to own these total feminine clothes"
• In the few photos that survive of pieces from this collection, it is interesting to note that he showed most of these shift dresses under capes, which would be a lovely combination even now.
• This dress would have been made entirely by hand in the Paris atelier. 
• The dress is made out of a jet black silk velvet that is extremely soft to the touch and has beautiful drape.
• I love the nod to classic minimalism that the dress displays.
• Straps in a matching black velvet curve up and over your shoulders and then the front and back have just the most gentle bit of a scoop across. Just enough to take away the harshness a straight line would have.
• It skims over the bust and is cut more generously over the waist so that it falls in a perfect shift or column feel around you. If you wanted to add more shape you could easily add a belt or corded rope tie.
• It flares slightly out over the hips and then the skirt falls from there widening out as it near the hem.
• The dress closes down one side with glossy black buttons and I love the deliberate contrast in texture that it has against the black velvet. That pop of shine of the high gloss of the buttons is the perfect subtle detail against the inky texture of the velvet.
• The buttons close the dress down one side to just past the hip and then the rest of that seam is completely open all the way to the hem. When you walk, move, or sit, you get a flash of bare leg all the way up that one side. It is almost startling to have that flash of bare skin against the column of black and I love this play between elegance and sexiness.
• It is a dress that appears to be so simple in shape but every seam and line of the dress was purposefully and masterfully executed and planned.
• This is an extraordinary example of his work during this time period and it is an absolutely stunning dress.
• The dress is fully lined in a matching hand set black silk and closes at the side with the row of buttons. All of the work is done by hand to Couture standards and it has its appropriately dated couture tag present. It appears to have been worn very little at all.
• There is no size tag present because it is Couture so please go by the measurements listed below.
• Excellent condition

Bust: to 16.5" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Hips: to 18.5" flat across from side seam to side seam
Total length: 57" from top of shoulder to hem and the slit is 29" from the hem up to the last button.

Modern Sizing Equivalent: SML-MED

Item# DD5655

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 Fall 1979 Haute Couture Yves Saint Laurent collection.
• It was made under the creative direction Yves Saint Laurent.
• The 1979 collection was an a homage to Picasso and Diaghilev. Yves had been to an exhibit on Picasso costume and set designs for Diaghilev's ballet Russes. At the time he told French Vogue that he had been on a different path entirely for the collection but then he saw the exhibition and "my collection took on the structure of a ballet. I embroidered on Picasso, on a slightly soft cubism, on harlequin, the Blue Period, the Pink. It's best when in inspiration comes! You no longer have any doubt, you get on with it, you feel an immense joy!"
• You can see that inspiration of the harlequin especially on the pattern of this dress. We found several runway examples where he used the same pattern and added those here. It was a significant part of the collection.
• In the YSL folio that contains all the drawings from the collection, I saw that he had to use this particular print in several colours; a golden brown, a red, a white and black, and this magnificent blue. I have also included a sketch of the dress that is closest to this particular piece. Based on the drawings in my folio, it seems that this is most likely a one off done in collaboration with the client's request.
• The dress would have been made completely by hand in the Paris atelier.
• It is made out of a beautiful fine silk that has a secondary pattern within the weave in the same blue and then it is printed with that black design leaving the blue to show between. The silk is of the highest possible grade.
• You can see the very beginnings of the classic Yves Saint Laurent sack dress to come in the cut and silhouette in this dress. These sack dresses played on volume and cut. As the years went by they got bigger and looser through the middle. This one is still on the edge of being a more loose-waist A-line. 
• The collar is banded in the same silk and the silk is gathered in around it for a little added detail. The shoulders are soft and the upper portion of the sleeve is wider and set in a slight cap on the top of the shoulder. This narrows down to a cuffed wrist that ends in a ruffle made of the same silk.
• The cut through the body is loose and easy and it is almost tubular in feel with just the slightest bit of narrowing as it nears the hem. 
• I love how this makes it easy to wear and that it gives you the option of wearing it loose or adding a belt to cinch it in and add shape around the waist.
• I have shot it both of those ways with an added black rope belt. The belt is not original to the dress but will be included.
• The perfect finishing touch is the little slits on either side of the skirt. These allow for movement when you move and gives you ease of walking plus a little bit of extra leg to show.
• This is a superb piece of Couture and is an early example of his work.
• The dress is unlined and slips over the head to wear with a single button at the back of the neck above a keyhole. Each cuff buttons to close. It is entirely made by hand. The appropriate Haute Couture label is present.
• There is no size tag present because it is true Couture. Please go by the measurements listed below.
• Excellent condition

Sleeves: 23.5" they are 15" around the upper arm. The neck is 13" around. The cuffs are 6" around where the button is presently but could be opened and the button moved to get 7".
Slightly inset shoulders: 14"
Bust: to 19.5" flat across from side seam to side seam
Waist: to 18.5" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Total length: 36.5" from neck to hem. Each side slit is 9" from the hem up

Modern Sizing Equivalent: XS-SML

Item# DD5644

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 dates to the 1970s
• It was made under the creative direction of Bill Blass.
• The dress is made out of a deep blue silk that has a beautiful depth of colour.
• The first thing you notice about the dress is that wonderfully dramatic floral collar that is made of the same silk as the dress. It has been hand cut and sewn into place to form a dense applique of flowers that follow the curve of the neckline, runs over the shoulders and outlines the V at the back.
• I love the bare expanse of skin that the open V reveals at the back and how it is surrounded by the silk flowers. 
• The dress is cut to skim over the bodice and then cinches in at the waist. If you wanted to add even more shape there, you could add a belt of your choice.
• The shoulders are soft underneath the applique detailing of the collar and the sleeves underneath are full. Each one becomes fuller as it runs down the arm. The wrists are cinched in for shape and then the cuffs have the same floral detailing that you see on the collar.
  
• Under that the skirt opens up to be very full as it falls to the hem. All of the silk has been gathered in all around the waist and this is what allows the fullness that you see.
• It may be possible to turn this dress around and wear the plunge to the front. You might need to use a double-sided tape to hold it in place but we think it is potentially possible.
• The dress is fully lined in the same blue silk through the bodice and a black silk organza through the skirt. It closes with a hidden set back zipper. There are hand finishes throughout.
• The dress is tagged a vintage Blass 12
  
• Excellent condition

Sleeves: 22.5" and they are full and open through the upper arm
Shoulders: approx 15"
Bust: to 19" 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 shoulder to waist
Total length: 60" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD5585

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.
• It was made under the creative direction of Yves Saint Laurent
• I have included the reference photos 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.
• The dress combines a floral silk chiffon with a muted red silk on the skirt.
• This 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 top is a printed silk chiffon and it has a 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. 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 done in the same fabric 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.
• It is quite full by the time it reaches the hem and 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.
• Under the waist are a series of tiny pleats that gradually open out to create the volume underneath. This intricate detail is a beautiful addition to the dress.
• The sleeves are outstanding and the perfect finishing detail. 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.
• The dress is fully lined in a red silk except for the sleeves which are unlined. It closes at the back with a hidden set zipper. Attached ties at the waist and elastic in each cuff. Between the top silk and inner lining is a tulle ruffle that helps keep the volume of the skirt. I see some light marks around the hem of the skirt that are minor but mentioned for accuracy.
• Tagged a vintage YSL 38
• Excellent condition

Sleeves: 24" and they are 14" around the upper arm
Slightly inset shoulders: 14.5"
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: 62" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD5561

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 a very rare Haute Couture Gres skirt and top hat from Spring 1974.
• It was made under the creative direction of Madame Gres.
• The documented to Spring 1974 was done through the sketch of it that we have added here.
• This is the exact set that was worn by Annabelle Wallis. I love that the photos of her show how beautiful this is once it is on. The movement even through the static photographs is phenomenal.
• Madame Gres' work has had profound effects on Haute Couture and her influence still resonates to this day. Her attention to detail, master draping techniques, and respect for the female form is unparalleled. She was known for designing and creating garments directly on her models and this became a signature of her work.
• She opened her first atelier, La Maison Alix in 1932. A partnership briefly changed the house's name to Alix Barton and then the label went to simply Alix. In 1942 she married, and the label made its last change to became Madame Gres, which was a partial anagram of Serge, her husband's first name. Her work spans over five full decades with the vast majority of it, with the exception of a short-lived RTW line begun in 1980, dedicated solely to creating Haute Couture. She is one of the greatest couturiers of our time and her pieces are very rare and hard to find.
• This Haute Couture set is exceptional. Both pieces are made from a bias cut silk jersey done in a perfect tropical sea blue that has a touch of turquoise to it. Silk jersey was one of her signature fabrics. The pleating detailing on the bodice of this set is one of her signature techniques.
• As with many of her pieces the cut and design of both pieces are simple and minimalist but with maximum impact.
• Tiny straps made from the same jersey curve over the shoulders. Under that is the incredible hand-pleated bandeau bodice. Two panels of pleated silk jersey curve around each and wrap behind you creating a curving pattern with openings between the curves all the way around.
• The silk jersey on the bands has been pleated entirely by hand with tiny little hand stitches hidden in the folds. 
• It is lightly boned inside and completely made by hand. You can see all the hand work in the photos where I have shown the back. It wraps and curves over itself at the back and closes with two hidden sets of hook and eye. 
• An expanse of bare skin sits between the top and the skirt. Depending on your height, the amount of skin shown between the skirt and top will vary.
• The skirt falls from the waist in a swoop of bias cut silk jersey that widens out as it nears the hem. There are yards and yards of jersey in the skirt. You really get an idea of that in the photos of Annabelle. It is quite exceptional.
• Every seam on the dress has been finished by hand. Working with a bias cut silk jersey in this manner is an incredible achievement that would have taken countless hours of handwork to complete.
• It is a work of art and very rare. It very well may be the only one that exists.
  
• The top is lined in a matching silk with all of the hand were clearly seen. It is lightly boned and hooks to close. The skirt hooks to close at the waist and then snaps under that. I see a bit of grubbiness on the inner lining of the top and on some of the edges of the top and the waistband of the skirt. There is the occasional tiny pull in the jersey. The straps have been reinforced. The hem of the skirt is deliberately raw. I see a couple tiny pinhead holes in the jersey of the skirt near the hem. There is so much fabric in the skirt that you would never see them but it is mentioned for accuracy. The dress is unlabelled. Both pieces are finished to Haute Couture standards and entirely made by hand. 
• There is no size tag is present because it is true Haute Couture so please go by the measurements below. 
• Excellent condition

Bandeau top
Bust: best fits a 32A or 32smallB or smaller
Bottom hem: 14" flat across from side seam to side seam
Total length: approx 13" from top of shoulder to bottom

Skirt
Waist: 12" flat across from side seam to side seam
Hips: open
Total length: 43" from waist to hem

Modern Sizing Equivalent: XXS-XS

Item# DD5425

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.

• After much research I believe this to be from the Spring 1979 Chloe collection.
• It was made under the creative direction of Karl Lagerfeld. 
• In this collection he moved away from 1940s as his inspiration into the sex appeal of the 1950s, said the book 'Chloe Catwalk'. The silhouettes were based on the hourglass. In that same book there was a very similar floral patterns shown I have included several photos here for you.
• Hand placed gathering emphasizes the hips for many of the pieces in this collection, along with extra emphasis on the waist. Lagerfeld said of the collection to the press "Frivolity is important. I want shape and sensualness."
• The dress is made from one of his signature feather light silks being used during this time period for Chloe. It is screened with a custom print that mixes an ivory, more pastel coral colour and a pale lavender.
• An interesting detail is that the labels are on the side of the dress that I think is the front. The side that has the deep plunge is longer in length at the hem so I believe that should be the back. I have seen other dresses with this label placement from around this time period and when the back is plunged like this, so it is not unusual to see. I have photoed it both ways for you, with the plunge at the back and the front. You could potentially wear the plunge at the front if you don't mind the longer hem at the front much like that Lacroix dress from me that was worn to the Met Gala a couple years ago when they turned it around backwards.
• The sleeves are long and it skims over the bust to the waist. The back plunges into a low V to just above the waist. As mentioned above, it is possible that you could wear it either way around. It is incredibly sexy worn either way.
• The waist is seamed and the dress comes with its original striped screened silk belt that hooks into place around you. The stripes on the belt pick up the stripes that are on the end of each sleeve and circle around the hem.
• The skirt curves over the hips and there is a gathering of the silk for added shape. It falls to the floor with the back cut longer then the front for a slight trained effect. You get the most fantastic movement as you walk.
• The dress is in its original uncut length and is unlined. It closes with a back hand set zipper. Hand finishes throughout. There is a tiny bit of fading at the top of the shoulders and edges of the hems. The entire dress looks to be hand dyed and or screened and it presents perfectly once on as this becomes part of the uniqueness of the pattern. The belt hooks to close.
• Excellent condition with the note above.

Sleeves: 22.5" and are 11" around the upper arm
Shoulders: 14"
Bust: to 17" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: to 18.5" flat across from side seam to side seam
Bodice: 16.5" from neck to waist
Total length: 60" from neck to front hem, 68" to the back hem with about 2" turned under the hem
Belt: 2.5" wide x 27" long where the hooks currently sit. 

Modern Sizing Equivalent: XS-SML

Item# DD5310

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 a superb Christian Dior dress made under the creative direction of Marc Bohan
• It is a wonderful example of the work being done during this time period and shows how well the label could be when it delved into a more minimal cut combined with that full out glamour.
• The dress has classic feel of the best of Old Hollywood and the closer you get to it the more you see the incredible and elaborate amount of detail that has been put into this fabric.
• The dress is made from a black silk net with a floral pattern worked through the lace. The flowers are edged in black silk cord and then it is beaded with an elaborate beading that follows the pattern
• The top beaded layer sits over a black silk chiffon layer. Under those is a nude silk chiffon inner layer that is backed in a black silk. Adding that nude layer gives the dress a bit of an illusion of wearing nothing underneath.
• The dress is suspended from two beaded straps that curve over each shoulder. The front neckline dips into a slight V and the back is a simple scoop.
• It is cut to skim over the body from bust to hips with no seaming to break the eye or the design created by the bead work. The shape of the dress is created by vertical seaming on the inner layers and then the top layer is shaped to follow. The skirt widens out a touch as it nears the hem.
• The lace netting is covered with an elaborate design made of glossy black beads in various sized along with black sequins. The design is heavier around the top the bodice, lightens in coverage as it goes over the hips and then becomes dense and heavy again at the hem.
• The sequins have been applied so that they are stacked and layered over each other to give a slight 3D feel.
• Small faceted beads follow other parts of the pattern and these are the same beads that are used to cover the straps. Tiny little seed beads are thrown into the mix and then there are square pailettes and oval faceted beads on a much larger scale to really create impact.
• The beads are all applied by hand and catch the light from every angle.
• The label on the dress is numbered and when you see that in a Dior Boutique label it most often meant that the piece was a special order or was a custom made order for a client in the atelier but fitted at the boutique store rather then in Paris.
• Fully lined as per the description above. It closes with a hidden set side zipper. Numbered tag. Perhaps the occasional bead missing but you would never tell because of the extent of the pattern. The slight bias cut will allow for a bit of movement in the measurements.
• There is no size tag so I have put the comfortable range of measurements below
• Excellent condition.

Bust: 16-18" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Length: 60" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD5168

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

• This is a gorgeous Demi-Couture dress from 1970s Lanvin.
• Made under the creative direction of Jules-Francois Crahay 
• Jules-Francois 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 hugely desirable and influential.' His time at the Lanvin label is one of my personal favourites for the house.
• The Lanvin label is numbered and the dress has been made to demi-couture standards.
• This dress is made from a fine blue silk tulle that has a floral pattern embroidered over its surface in the same blue. The lining is done with a deep purple silk and this gives it this very unusual colour that lies somewhere between a deep blue and a deep purple.
• Onto the top silk net there is an exquisite floral design done with a metallic gold thread. That same gold thread also circles around the lower skirt in two horizontal panels done in a open chain link design. More of the floral netting separates those panels.
• The result is even better on person as the gold feel more prominent. I love how the gold catches the light from every angle.
• The bodice skims over you and the sleeves are long. Each sleeve has a bit of puff above the elastic cuff.
• The waist is cut more generously and you could add a ribbon or a belt to cinch it in.
• The skirt skims over the hips to the floor and widens out as it nears the hem. The added panels of gold on the skirt help to give the skirt support and help hold its shape.
• Fully lined in a purple silk chiffon through the top and a purple silk through the skirt. It closes with a back hand set zipper and there is elastic in each cuff. Hand finishes and hand finished inner seams.
• The label is numbered.
• There is no size tag present and the bias cut of the lining and the net give it a little give so I have put the comfortable range of measurements where it will give a bit. 
  
• Excellent condition 
  

Sleeves: 26"
Shoulders: 14.5"
Bust: 17-19" flat across from side seam to side seam
Waist: 14-15" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Bodice: 15" from shoulder to waist
Skirt: 43" from waist to hem

Modern Sizing Equivalent: XS-MED

Item# DD3925

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.

• 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.
• It was made under the creative direction of Marc Bohan.
• 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.
• The dress is 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.
• There is no size tag present. Please go by the measurements listed below.
• Excellent condition

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.

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.