Bill Blass launched his label in 1970 when he bought out the Maurice Rentner label and re-launched it under his own name. Blass was arguably one of the most famous of  the American designers. His forte was the ability to mix simple styles with luxurious materials and his evening wear in particular seemed to have a way of flattering the wearer. He knew how to walk that line perfectly. This is a gorgeous example of his work from this time period. It is beyond gorgeous and it is one of my favorites from him. I have had this dress in the shop before and at last we have been able to date it. It is from the Spring 1984 collection

I have had the twin of this dress in the shop in the past and I love it more every time I find it. The main body of the dress is made from a deep royal purple silk that has a vivid pink ruffle that runs all the way down one whole side. The way that the pink is attached to the dress gives the dress the feel that that it has been wrapped around the bust and then tied into a dramatic bow at the shoulder with the ties trailing down your side. It actually is all attached and a part of the dress but I love how it makes the dress feel. The pink is gathered and warps all the around the bust and then is caught up at side to create that gorgeous bow that you see. The other shoulder is left completely bare for a little skin to show. Under the bow the pink silk runs down the side of the dress in an extravagant ruffle finish all the way to the hem. The inner bust has boning to support you and there is a little hidden strap under the bow to keep it in place. The body of this is cut loose and easy and it widens out it falls to the floor. It is extraordinary. Even more beautiful in person. It appears to have been worn a very little if at all. Excellent condition

Fully lined in a deep purple silk. The inner bodice closes with its own zipper and then the dress zips to close over that with a hidden set zipper. Lightly boned through the inner bodice.

Bust: 16.5" flat across from side seam to side seam
Inner waist: 13" flat across from side seam to side seam and the outer waist goes to 16" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 56" from top of shoulder strap to hem

Modern Sizing Equivalent: SML-MED

Item# DD4109

Reference Photos: (1-2) Fall 1984 Bill Blass Runway, Model Dalma Callado.  /  (3-4) 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.

This fringed body suit is by Bob Mackie and it is a very unusual piece but one that perfectly reflects his costume designing side. Mackie was best known for dressing Cher and for his signature glamourous looks but he was also extremely active as a costume designer throughout his career. He worked for both Edith Head and Jean Louis prior to entering costume design and he began by co-designing with Ray Aghayan. That led to his incredible journey in designing for stars like Cher and Diana Ross for many years. In some ways he and his creations defined their careers and that era of glamour. His work always has that touch of the best of the bygone glamor of Hollywood. I have no information on this piece other then it is an earlier label when he would have went solo and that its original intention would have been for stage.

A modern girl could probably wear this out and make it work with the vast range of styles and looks that we have access today but it would have originally been a costume piece. I hope that one day someone might chance across what it was originally intended for. Either way it is an interesting piece for the collector.  It is a body suit that has had fringes added to extend the length and give movement. The body suit is covered in a black nylon jersey so that it has a bit of movement and stretch. It is vertically seamed all the way around which again gives it that ease of movement while still holding the body in place. The cups are shaped and there is padding added by hand inside for support and lift. It plunges low at the front and the front appears to cross over itself. This illusion is made even more so by the clear and black rhinestones edging the neckline and down the front. The straps extend to hook at the back of the neck. The back is scooped and there is a large brass zipper to close. The inner bottom is wide cut with elastic around the opening for each leg. More rhinestones circle the waist and come up to meet the ones extending from the neck and then he put a rhinestone edged bow on that hip. The fringes are set under that waist detail and the movement they have at your slightest move is incredible. It is fantastic. Excellent condition.

The bodysuit is interlined and slightly boned. Hand set padding in the bust and a partial waist stay that hooks to close to help hold it in place. It hooks at back of the neck and closes with a low set zipper. Hooks or metal end of stage costume size and weight so they're very sturdy. The zipper appears to be made of brass. Elastic through the leg openings. boning through the body suit. The gusset in clean and fresh. Hand finishes throughout. There are some sequin and rhinestones missing near where the hook closes at the back of the neck. Please see the two photos after the label shot

Bust: each cup is 6-7" flat across from side to side
Waist: 11-12" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Bodysuit: approx 30-33" from top of neck to inner seam
Full Length: approx 37" from neck to shortest point of fringes and 55" to the longest point

Modern Sizing Equivalent: XS-SML

Item# DD4322

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 Josefa caftans and have covered the history of the label a couple of times in my instagram (go peek one day). They are like owning a piece of wearable art. Every single one of them was entirely hand made, detailed and embroidered. They were made in Mexico in the late sixties to early seventies and were the epitome of Bohemian chic in their day. They are easy to wear pieces that can go from the beach, to exploring far off markets, to being worn as an evening piece depending on how you style them. This one is not perfect so is at a really great price but its still 100% wearable and has that perfect vintage patina

I have had this pattern on a Josefa caftan in a gold and black before and I really love seeing this far more colourful version. The cotton is still crisp the colour of the base is a deep deep blue. Like all the Josefa peiece I have seen there are natural color variations in the fabric since they were all hand dyed and I love the feel of authenticity this gives the fabric.  Bright multi-colour ribbons adorn the neckline and I love how they are set to cross over each other and have a woven effect where they meet at the base. Those same rainbow colored ribbons also wrap all the way around the hem and each cuff is finished with them. If that was not enough the caftan has medallions of hand done embroidery work just below the front neck and down the each side. More embroidery work is set on each sleeve. The sleeves are fantastic. Each is cut wide and mimic the way that the skirt widens out as it nears the hem. The dress is cut to sit slightly more fitted through the bodice and then flares out dramatically as it reaches the hem. The sleeves are cut to do the same and widen out as they near the cuffs. Good overall condition with notes to review below

Unlined and slips on to wear. The fabric has natural variations in it. It's even better in person I think. There is a mark on the ribbon at the front and one of the medallions and a bit of grubbiness to the ribbons. There are a couple areas of fading on the fabric where the fabric folded during storage and was exposed to sun. There's a sense of overall light patina and a bit of fraying to the ribbon at the botton edge. Please review the photos after the shot of the label. None of these affect the strength and wearability of the caftan. The loose cut will allow it to fit a range of sizes.

Sleeves: 24"
Shoulders: 16"
Bust: to 20" flat across from side seam to side seam
Waist: to 21" flat across from side seam to side seam
Hips: to 26" flat across from side seam to side seam
Length: 60" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# DD4318

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 from my same client whose aunt purchased from Ady Couture who I explained in depth in this listing while she was living in Switzerland during the eighties and into the nineties. Prior to that, during the late sixties and into the early 80s her aunt lived in both France and Brussels where she purchased pieces from Louis Mies. Mies was a small independent couturier who did custom work for his clients to couture standards. He designed many piece for the Queen of Brussels and like Ady, he had permission from several of the Haute Couture ateliers to produce their Haute Couture pieces using the patterns and buying the fabric direct. This dress is based on the Fall 1974 gown that Yves Saint Laurent showed that season. The fabric has changed and I think this fabric is better then the silk moire taffeta of the runway piece. It is more wearable for a modern woman in this stunning rose detailed silk. It is beyond beautiful in person and one of my favourite personal pieces. 

All of the finishes  on the dress have been done by hand and it has all of those lovely details that you expect in a couture dress. It is made out of a black silk taffeta and this fabric choice helps it to hold its intended shape. On the main body of the dress the silk has been finished with hand embroidered roses. These are made with a chenille velvet thread that is worked through the silk to form those spectacular large roses that cover the entire dress. Scattered over and around the roses are dots that are made with the same chenille. This gives the dress an incredible 3D texture and they also add a lovely and romantic touch. The neckline is scooped low across the front and the it buttons to close under that. There is an elaborate set of snaps and hooks that follow the waist line and carry over to the side where there is a hidden set zipper. The top is so well made I think you could choose to wear the scoop to the back even. It skims over you and the waist nips in. The sleeves are gorgeous. Each is constructed in the proper tailoring manner and are set on a curve to follow the shape of the arm. At the shoulders there is a series of soft pleats that creates that bit of volume you see there. The skirt is equally well made. It curves out from the hips to fall to the floor, widening out beautifully as it nears the hem. Inside the skirt is a full built in silk under-skirt that gives the skirt the volume that you see. The inner skirt is finished with an edging of black silk ruffles and it set slight below the top skirt in length. So when you move a certain way or sit you get just a glimpse of the ruffles at the hem. I think my favourite detail though is the precise and unusual rolled pleats that circle the waist. Each is made by hand and each perfectly matches its neighbour. The hours of work that it would have taken to implement these would be mind boggling. All of the inner seams are finished by hand and I have included some shots of the inner seams for you to see how beautiful they are. It is extraordinary and the kind of quality and beauty that you will only find with vintage. It appears to have been worn very little if at all. Excellent condition

Fully lined through the bodice in a black silk crepe chiffon. There is a built in black silk taffeta inner skirt. It closes with silk covered button and loops down the front. At the waist there is an elaborate series of silk covered snaps and hooks that close along the waist line and then it zips at the side with a hidden set fine metal zipper. There is an inner waist stay that hooks to close. There is at least an inch and a bit of fabric on either side of each inner seams through the bodice to let it out if needed. The inside is all hand done and it is finished to couture standards. 

Sleeves: 24"
Shoulders: 15"
Bust: to 18" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of shoulder to waist
Skirt: 42" from waist to hem with 3" turned under the hem 

Modern Sizing Equivalent: SML-MED

Item# DD3682

Reference Photos: Fall 1974 Yves Saint Laurent Haute 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.

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

The dress is made out of a black silk taffeta that holds its shape and volume beautifully. This is a two piece set made up of a dress and its matching jacket. They are fantastically beautiful worn together but I also love that having the two pieces gives you more styling options and extends the life of this in your wardrobe. The dress is suspended by two tiny straps that curve up and over each shoulder. The bodice dips into a wide set V at the front and dips lower across at the back to leave a bare expanse of open skin. It is cut to be more fitted to the waist and then under that it is all volume and drama. The skirt has an incredible amount of volume to it that shows best when you move. The lightness of the silk causes the skirt to billow out and move around you as you move yet it still has enough weight that it holds that full feeling when you stand still. When this is on and you are walking the effect that this creates is absolutely gorgeous. The 13" ruffle that circles the entire lower hem is actually added on top of the skirt and not simple seamed onto the edge. That means the ruffle has the inner part of the skirt behind it and this extra weight and fabric helps to hold its shape. A very clever little construction detail. The ruffle also adds an extra touch of romance to the piece. And it has pockets. Over this pops the jacket and it is a thing of beauty in its own right. The body of the jacket widens out from the soft shoulder and curves around and up from the hem to the neckline. I love the ruffle finish that follows all the way around the edge. The sleeves are incredible and each is cut to be very wide by the time they reach their ends. The seam above the ruffle finish on them is a full 20" around and the ruffle makes it go beyond that even. It is absolutely beautiful. This is Valentino at his best and a tremendously beautiful dress and jacket. Excellent condition. 

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

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

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

Modern Sizing Equivalent: XS-SML

Item# DD4054

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

Louis Feraud opened his first boutique in 1950 in Cannes selling sundresses to the jet set. When Brigitte Bardot was photographed in a white pique and lace number, he became the darling of the fashion world. By 1956 he had moved to Paris and opened a couture atelier and in 1960s made his first official couture presentation. Ready to wear followed in 1970. He won the Golden Thimble in in 1978 and again in 1984. Women like Elizabeth Taylor and Brigitte Bardot were huge fans of the label. This is a wonderful caftan dress from the early 1970s that shows his depth as a designer. It is just exceptional.

The dress is made out of a single layer of bias cut silk chiffon that sits over an inner layer of a nude silk chiffon. The inner layer is also bias cut and the two layers float over each other perfectly to drape over the body. The fabrics used are as light as a feather so that the caftan feels wonderful once on the body. It is incredible how light and airy this one feels. The neckline is a wide scoop that sits wide across the neck. From their falls in this extravagant swoosh of bias cut silk. It is cut very long and I love how one side is done to sit a little shorter then the other. This is a very clever detail as it not only emphasizes the pattern that you see but it also gives more movement to the dress as it moves and catches the air. It falls over you loose and easy for an almost caftan feel to it. The bias cut lets it swirl around the body underneath but at the same time it feels insanely comfortable on because the fabric weighs ounces. The sleeves are incredible. Each is cut extremely wide and then has elastic at the wrist to create a bit of a balloon effect above. The pattern that covers the dress is like that of a huge silk scarf and this gives it its fabulously glamorous bohemian feel. It is immensely flattering once on and should work an a wide variety of shapes. This is a dress you will want to wear over and over for every summer occasion from day to evening. It is truly a remarkable dress that is hands down one of my favorite pieces ever. Excellent condition with one minor note below

The body of the dress is fully lined in a nude biased cut silk chiffon. The sleeves are unlined. To wear it you just slip it over the head. There is one tiny mark on one sleeve. Please see the photo after the label shot. It otherwise appears to have been worn very little if at all. Hand finishes

Sleeves: approx 30" to their longest points and will sit up more when on
Shoulders: no true defines seam
Bust: 16-27" flat across from side seam to side seam
Waist- hips: open
Length: 60" from the shoulder to the longest point of the hem, 48" to the shortest

Modern Sizing Equivalent: XS-LRG

Item# DD4311

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 fairly early YSL from the 1970s and if I had to guess I would probably put it somewhere between 1973 and 1975. This is the kind of piece I love finding from him. It is light in weight and easy to wear. Once on the body this is the kind of piece that becomes even better. His clothes were made to sit and fall on a person not a dress form and this set definitely follows that philosophy. It is a two piece set and I love that this gives you the added benefit of being able to mix and match both pieces with other things already existing in your wardrobe. When worn together they look like a dress  that is soft and romantic feeling. It is made out of a light and airy cotton voile and this choice of fabric holds the colour and print exceptionally well. It also has a slight transparency to it that gives it a light and airy feel. The skirt slips on with a wide elastic waist and the top also simply slips on to wear. Both pieces are cut to flow over the body in a loose and easy fashion. The top is gorgeous. It has a loose and easy cut. The neckline is scooped and set wide across the neck so that your collarbones show. The body of the top opens and widens out to be full to the hem. The sleeves are cut wide and full and each is cut on a beautiful curve. At the center of the neck are two long straps in the same fabric. These can be tied around the back of the neck so the top has a suspended and more caftan feel around you, or you can wrap them under the bust, or even fully around the waist to add more shape. You can also play with the styling of this and add a belt for an even more shaped look. The skirt is has two tiers of the same fabric and I love that when the top and skirt are worn together it feels like a three tier dress. The fabric is feather light so it has movement with your smallest move.  It is so pretty and and so easy to wear.  Excellent condition.

Both piece are unlined. The skirt has elastic through the waist and the top slips over the head to wear with the attached ties at the front the neckline. Both pieces are tagged a vintage 38 but the easy bias cut and elastic waist should allow it to fit a range of sizes

Top
Sleeves: approx 17" to longest point
Shoulders: no true defined shoulder
Bust: 22-26" flat across from side seam to side seam and widens out by several more inches to the hem
Length: 26" from neck to hem

Skirt
Elastic waist: 12-18" flat across from side seam to side seam
Hips: to 24" flat across from side seam to side seam
Length: 42.5" from waist to hem

Modern Sizing Equivalent: XS-MED

Item# DD4309

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 gorgeous dress was designed by Jules-Francois Crahay, who headed the Lanvin ateliers from 1964-1984. He has been noted as one of fashion’s 'great colorists with his colorful patterns making his 1970s Lanvin designs hugel​y ​desirable and influential.' His time at the Lanvin label is one of my personal favourites for the house. I especially love his work during the period through the late sixties and into the early 1970s. He was a genius at print and colour and he pushed the envelope in his work with colour and cuts. This dress is extra special because we actually found documentation on it which gives us the exact date on it. It has one of the best prints I have seen and it just feels happy.

This Lanvin dress is gorgeous and is from the main label. I am in absolute love with it. The dress has a gorgeous bright colour and print combination. It uses two fabrics and both hold colour exceptionally well so the colors are still crisp bright and true. The top portion of the dress is a almost T-shirt feeling cotton and then the bottom skirt is smooth finish fabric that feels like a mix of silk and cotton. The sleeves go to just past the elbow and each is cut straight and wide. The neckline is scooped with a slightly wide cut. The top skims over you with a seam set under the bust. Then there is a wide band of fabric the circles around you for a bit of shape. Both of those parts are the same fabric and have an abstract circle print with red, blue, green and pink on a white backdrop. The waist is cut with a loose and easy cut. You can wear it like that or tie the matching fabric tie belt to cinch it in more. From there the skirt falls to the floor and it widens as it nears the hem. The fabric change on the skirt gives it a touch of weight so that it holds the shape well. It is set so that it ends in a pink print border down the center at the front with an open vent at the hem. The skirt has an abstract pattern with lots of flowers in it but the pattern uses the same colours at the top. So even though it's a mix of two crazy patterns it works exceptionally well. This full on pattern also makes the dress instantly recognizable as a piece of his work. It is fabulous. Excellent condition

The bodice is unlined with finished interior seams and the skirt is fully lined in a white silk. It closes with a back painted metal zipper. Hand finishes. Original tie belt. Set up to have been worn very little if at all.

Sleeves: 21"
Shoulder: 14" across
Bust: 17-20" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Bodice: 11" from shoulder to seam under the bust, band is 5" high
Skirt: 40" from waist to hem with 5" turned under the hem

Modern Sizing Equivalent: SML-MED

Item# DD4307

Reference Photo: Spring 1974 Lanvin Runway.

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

Bill Gibb was one of the most influential designers in 1970s Britain and his clothes were sought out and worn by the rich and famous. His work always has a high fantasy element to it and he was crowned Designer of the Year in 1970. Much of his work verged on couture and he was unrelenting in striving for perfection. Every piece I bring into the shop that was made by him is very special and this one is no exception. Bill had a great fondness for history and looked globally for his inspiration. This set pays homage to Asian culture and I love how he combined the traditional cherry blossom print with English roses. It is gorgeous.

I love that you can wear this set together or as separates to extend their wear. It is absolutely gorgeous either way. The skirt is made from two long panels that are attached along the waist band and part way down each side. This creates this wonderful line from the hip to the hem. It is seamed down each side to just past the hips and then below that it is completely open. When you move or sit you get this long flash of legs all the way up. It is almost scandalous for its time period. The jacket is cut with more of an oversized feel. The front has no closures. You just slip it on and go. The top of the collar flares out for a bit of detail and the sleeves are cut wide and full. The jacket is detailed with black flat braiding that highlights the cut and adds detailing. More braiding runs along the edges of the skirt. The fabric is a beautiful red silk with little cherry blossoms and English roses woven through it in a slightly metallic finished thread. This is one of those pieces that in person and on an actual body it is even better then how it looks on my dress form. Excellent condition with a minor note below

Both pieces are fully lined in a red silk. The skirt closes with a metal and nylon zipper. The jacket has no closures and slips on to wear. I see a tiny touch of foxing on the side of the skirt, a tiny pen mark on the front of the jacket and some slight lines running up the satin on one sleeve. Please see the photos after the label shot. All these are very minor. Tagged a vintage UK 8. You might be able to add a little extension at the waist to get a bit more room if needed

Jacket
Sleeves: 24.5
Shoulders: 15" across
Bust: to 16" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 19.5" flat across from side seam to side seam
Length: 13" from neck to hem

Skirt
Waist: 11.5" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 43" from neck to hem
Slits: 20" from hem up

Modern Sizing Equivalent: XXS-XS

Item# DD3436

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 fabulous dress is the twin of the dress that walked the Fall 1975 runway. It was featured in the ad campaign that year and in an editorial that season. I was so pleased to find so many shots of it on because it really shows you just how much it comes to life when worn. On the runway Yves put a gold belt on it and it was shown in the editorial without. My client told me that the belts were sold separately and it would be easy to recreate the belted look with any gold belt that suits you best. I love having such a well documented piece in the shop and it doesn't hurt that it is drop dead gorgeous.

This is a dress that is insanely sexy and bare feeling and yet that deep brown colour and minimal lines keep it feeling fresh. The dress is made out of a bias cut brown silk jersey that has amazing drape and feels easy-to-wear once on the body. The bodice has a halter style front that comes up at the center and then a gold coloured leather strap is set on a curve that goes up and over your shoulders and falls down the back to meet in the middle of the waits. The back is fully open otherwise and this bare expanse of skin is fabulous. The sides curve down on an angle to the waist. Despite its bareness it is cleverly cut so that when you have it on it stays perfectly in place. The waist has an attached wide band of the same fabric that wraps around you and hooks into place on one side. One side of the halter does the same and I have taken photos of how it closes as it is very clever. Under that the skirt flows to the floor in a sweep of silk jersey that has two tiers of it stacked on top of each other for added detail in the skirt. This gives the skirt beautiful movement when you move. It is stunning and a beautiful and very well documented piece of Yves early work. Excellent condition

The dress unlined and closes with a side zipper and then hooks for the side of the bodice and attached band at the waist. Tagged 38. There is a bit of patina on the gold painted leather. Hand finishes throughout and the fabric has some stretch

Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 17" from top of bodice to top of band at waist and meant to blouse over a bit
Skirt: 40" from top of band at waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4298

Reference Photos: (1) 1975 Yves Saint Laurent photographed by Jean-Luce Hure.  /  (2) Fall 1975 Yves Saint Laurent Ad photographed by Alex Chatelain.  /  (3) Fall 1975 Yves Saint Laurent photographed by David Bailey.  /  (4) Fall 1975 Yves Saint Laurent photographed by Jacques Bugat.  /  (5-6) Fall 1975 Yves Saint Laurent Runway.

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

John Bates founded the Jean Varon label in 1960 and it quickly became known for the futuristic designs and innovative use of fabrics. He dressed Dianna Rigg portraying Emma Peel in the 1965 season of the action TV series 'The Avengers' and that helped bring him even more commercial success. By the late sixties and into the seventies his work tended more towards more floaty, feminine designs. Some of the very best pieces were made during this time period. His caftan dresses in particular are fabulous and they are some of my favourites to find. This one with its dramatic sleeves and print is one of the best I have ever seen

I love that this piece has that caftan feel but it still has defined sleeves too. The top layer that you see is made from an ultra light fabric that has an almost mesh feel to it but with a tighter weave. This fabric choice has just enough weight to it to help hold the lines of the dress and make it drape correctly once you slip it on but still stay light and easy to wear. The neckline is scooped and finished with a piping of the same fabric. A pretty curved and open keyhole with a decorative button just above it sits at the front for a little skin to show. At the back the outer layer of fabric has a row of fabric covered buttons and loops set over the inner zipper for added detail. The dress falls from there and widens out substantially as it nears the hem for that nod to the caftan cut. This lets the entire body of the dress be a simple loose and open cut. Running over the fabric is a stunning ombre and abstract floral and leaf design that covers the entire surface of the dress. The print mixes several shades of green that range from lime to teal. If that wasn't beautiful enough the sleeves are little works of art in themselves. Each has these elaborate ruffles that are attached to the underside of each sleeve. The ruffles are made from a double layer of fabric that cascades down the undersides of the your arms and fall almost to the hem at their longest points. This adds an incredible amount of movement and drama to the dress. When it is on the entire caftan flows around you and the sleeves even more. It is really an exceptional piece. I love it. Excellent condition

Fully lined in a nude silky rayon through the body and the sleeves are unlined. The lining has a zipper to close and then the outside layer buttons to close over that. I see some scuffing to the edge of the hem of the inner lining and a couple areas of thinning near the hem of the inner lining. It is strong and stable still and of course you don't see this when it is on. It otherwise appears to have been worn very little. The easy cut should allow  it to work on a variety of sizes.

Sleeves: 25" and the ruffles hang to 55" at their longest points, the upper arm is 12" around
Shoulders: 15.5"
Bust: to 21" flat across from side seam to side seam
Waist: to 26" flat across from side seam to side seam
Hips: open
Length: 60" from top of shoulder to hem

Modern Sizing Equivalent: XS-MED

Item# DD4295

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 when I have this dress in the shop. It is one of those perfect, pretty, easy summer dresses that you can wear to just about any event and it easily goes from day to evening. It is utterly gorgeous and has all the hallmarks of the best of what Hanae Mori could do. The colors are stunning and the palette she used for it are vibrant and bright. The soft backdrop print is a brilliant mint green that has touches of blue in it and this has been screened onto a soft, polished cotton feeling fabric. Onto that pretty backdrop are a design that has huge exotic birds flying over its surface. These bold and beautiful birds fly across the dress in an array of bright pinks and corals and they seem about to fly off the green backdrop. It is cut in an easy to wear caftan style with an elastic through the waist. If you wished you could add a belt to cinch it in for more shape or just wear it loose and easy. The bodice is full and easy and the skirt widens as it nears the hem. Hidden front pockets are hidden along the front seaming detail that runs down the dress. The neckline is cut into a V and the sleeves are wide with no seams at the arms to break the lines of the print. I love the curve of the sleeves to give them a bit of a caped feel. I actually own one of these myself and wear it endlessly. An absolutely wonderful piece. Excellent condition.

Unlined and slips on to wear with elastic at the waist. The easy cut allows for a range of sizes. Pockets hidden along the front seams. Tagged a Med.

Shoulders: no true defined seam
Bust: no true defined side seams
Waist: 15-17" flat across from side seam to side seam
Hips: to 21.5" flat across from side seam to side seam
Bodice: 15" from top of shoulder to top waist seam
Skirt: 40" from top waist seam to hem

Modern Sizing Equivalent: SML-MED

Item# DD4297

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 Goldworm label was created by Gertrude Goldworm in 1928 and became one of the best known American knitwear companies of its time. In the early fifties they collaborated with an Italian knitwear company and merged the aesthetics of American fashion with Italian traditional craftsmanship. Just befirre the turn of the sixties, Beverly Tuttman, Gertrude's daughter, joined the firm as head designer and bright high fashion to the label. This dress is from the early 19770s and the label was well established and a part of American evening wear. It is a simple little dress that still has high impact.

The dress is made from an easy to care for black synthetic knit mixed with a silver metallic lame knit on the straps and waist. The addition of silver takes an otherwise simple little dress into something fabulous. It is an easy dress to wear and it has elastic through the waist so is easy to fit. You just slip it on and the waist adjusts to sit perfectly on you. The front is made to skim over you and wraps slightly around the sides. The waist is detailed with the silver. At the top the neckline is gathered and looped over the straps for a bit of detail there. The back is left completely open except for the silver straps that crisscross over you. Because of the elastic at the waist you can wear the dress with the elastic sitting higher and have the top blouse over more or pull it down low to the top of the hips for a longer feel. The skirt falls from there in a long easy line that widens out as it near the hem. It's just an easy fabulous dress. Excellent condition

Online and slips on to wear with elastic through the waist. Tagged a vintage 6. The easy waist and open back should allow it to fit a range of sizes. The knot has stretch

Bust: no true side seams but will cover 17.5-21"
Elastic waist: 11-16" flat across from side seam to side seam
Hips: 21-25" flat across from side seam to side seam
Bodice: 17" from top of bodice to waist
Skirt: 42" from waist to hem with 3" turned under

Modern Sizing Equivalent: XS-MED

Item# DD4285

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 wonderful dress is from the Fall 1977 collection and it is based on the work done for the Couture collection for Fall 1976 title 'Opera - Ballet Russes'. That collection marked a turning point for Yves as a couturier and designer. The twin of this dress walked the ready to wear runway that season. We found several runway shots and angles of it on the catwalk so you get an great idea of what it looks like on the body. This is a great and very easy to wear pieces from one of the most important time periods of the YSL history.

This dress is so easy to wear and very comfortable once it is on. These smock type dresses that he was doing during this time period were the ultimate in easy dressing. You just slip it on and you are ready to go. It can also be belted to add shape and bring the length up which gives the dress a lot of versatility and styling options. This was a signature style for him for this time period. This one is made out of a soft and light red wool. It feels wonderful on. The neckline and curved seam under the yoke at the top have been edged with red and black yarn braided cording. There is a row of buttons across the top of each shoulder and these are functional and this is how you get in or out of the dress. The sleeves are full and balloon out above their buttoned cuffs. The body of the dress is cut loose and easy with a low dropped seam to separate out the lower skirt. The lower part of the skirt has lots of fullness so that it has a little extra swing and movement. I love the yarn fringe that details each part of the dress. And it has pockets on each hip. This is a classic Yves Saint Laurent look and a great piece of fashion history. Excellent condition

Unlined and slips on to wear. Buttons at the neck with five button and loops. Pockets on each hip along the seams. Tagged a 38 but the cut is generous so should fit a range of sizes and will just be more over sized on a smaller frame. Meant to be oversized on the body. 

Sleeves: 25"
Shoulders: approx 14.5" bet there are no real defined seams
Bust: 16-22" flat across from side seam to side seam
Waist: to 23" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Length: 50" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# DD4279

Reference Photos: Fall 1977 Yves Saint Laurent Runway.

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 John Kloss for Cira line was originally intended to be worn as lingerie pieces but many that you find now can be worn as a dress. The recent trend towards wearing items more sheer and layered over inner foundation garments makes them suitable as outwear now. They are very collectible and fabulous examples of 1970s lingerie / hostess wear

This one walks the edge as far as how sheer it is. It def has a touch of sheerness in a strong light but you could use it as a cover up, layer it, or be daring and just go for it with undergarments. I love his work and this piece is a great example of how his designs worked with the curves of a woman's body to show it off to its best advantage. He deliberately chose good weight and quality nylons that held the color well and would drape exactly as he wished. This simple cut piece is done in a bright barbie pink. It is better in person in my opinion as the camera is not quite catching the right tone of pink. It slips over the head with no closures. The straps curve over the shoulders and at the front the bodice has a curve seem that runs under the breast. The panel of fabric above this is cut so that it drapes slightly went on the body. At the back it is scooped very low that leaves the back almost completely bare. The skirt falls from there skimming over the waist and is quite full by the time it reaches the hem. That is it. It is bare on top and that brilliant colour and sexy fabric is all that it needs. Excellent condition

Unlined and slips on to wear no closures. It looks to have been worn very little if at all. Tagged a vintage Cira large.

Bust: no true seems but will cover up to 15" across
Seam under the bust: 17-18" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: 19-20" flat across from side seam to side seam
Bodice: 11" from top of shoulder to seam under the waist
Skirt: 42" from seam under the waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD4275

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 always love when I find these. I have had the twin of this piece a couple of times now in the shop and they always get snatched up immediately. This is from the Halston IV line and is a made from a gold lurex lame. The simple classic design makes it an easy way to be instantly dressed up and still entirely comfortable. Rachel Zoe owns and wears the twin of this in the brighter gold version and she has worn and posted herself wearing hers a few times on her Instagram account. It just proves that this is an incredible and glamorous staple piece that you can wear again and again.

Today I have two of these, one in each version of gold that were made. I have one in the lighter brighter gold and then this one in the darker gold thread on a black base. Whenever I get these metallic ones I feel that they are just that little bit extra special. It is a dress that is so easy to wear. I own one myself and can attest that these can go from the beach, to entertaining at home with flats, to full on evening glamour. The caftan has a simple and easy to wear cut. There is a slit front neck and then a second slit runs up the center seam at the front from the hem. So when you walk or sit you get a flash of leg showing. The cut is loose and easy to wear. It is meant to skim over the body. The sleeves come out directly from the body of the caftan and then narrow down towards the wrist. The skirt flows to the floor and widens out to be quite full as it reaches the hem. The waist is open and easy. If you wanted more definition you could easily add a belt or fabric sash to add shape. This is a wonderful piece with all the minimalist lines that we all love about Halston. Excellent condition

Unlined and slips on to wear. The fabric has a slight transparency to it. The loose and easy cut should allow it to fit a range of sizes. These always have a loose thread here and there but is part of the vintage charm of them. I see a very tiny pull here and there near the side seams. All minor and what I have seen in everyone I have had. The colour is a touch brighter gold in person then how it photoed

Sleeves: approx. 20"
Shoulders: no defined seam
Bust: to 20.5" flat across from side seam to side seam and it widens to approx 26" flat across around the hips
Length: 59" from shoulder to hem
Slit: 26.5" from hem up

Modern Sizing Equivalent: SML-LRG

Item# DD4267

Reference Photos: (1) Cherie, Owner of Shrimpton Couture wearing a similar caftan.  /  (2-3) Rachel Zoe wearing Halston (from her Instagram)

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 wonderful skirt is from the Nina Ricci Boutique ready to wear line. The Ricci atelier was launched in Paris in 1932, with Nina retiring from designing in the early 1950s. Jules Francois Crahay then headed the design team until he left for Lanvin in 1963. Gerard Pipart took over from Crahay and stayed on with Ricci until 1998. This skirt is just the prettiest example of the sweetness the house could do in terms of design. It is exceptionally easy way to add a bit of vintage into your wardrobe and have a stand out piece at the same time.

The skirt is made out of a woven silk that is absolutely beautiful. The weave creates this beautiful floral pattern. The backdrop is a inky black and then the red flowers pop off of that in a soft and pretty way. The flowers are highlighted with a bit of a silver gray and a soft blue that is just very pretty. It is banded at the waist and then falls open and full from there to the floor. I did not photo it with any crinolines underneath. The fullness that you see is created by the way it is inset around the waist and the sheer volume of fabric in the skirt. That said even with the fullness it is light in weight and easy to wear. If you wanted it to be even fuller you could easily add an underskirt. It is exceptionally beautiful and it even has pockets. It appears to have been worn very little if at all. Excellent condition

Unlined and closes with a zipper and hook and eye at the waist. Pockets hidden along the seam of each hip. Some hand finish inner seams and built in stiffening along the inner hem. It looks to have never been worn or worn very little.

Waist: 13" flat across from side seam to side seam
Hips: open
Length: 41" from waist to hem with 3" turned under

Modern Sizing Equivalent: SML-MED

Item# S988

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 skirt was designed by Belgian-born Jules-Francois Crahay, who headed the Lanvin ateliers from 1964-1984. He has been noted as one of fashion’s 'great colorists with his colorful patterns making his 1970s Lanvin designs hugel​y ​desirable and influential.' His time at the Lanvin label is one of my personal favourites for the house. I especially love the his work during the period through the late sixties and into the early 1970s. He was a genius at print and colour and he pushed the envelope in terms of using cutting edge fabrics available during this time period. His use of print and colour is just outstanding. This skirt has a boutique label but also has the inner handwork, the seams especially, that denotes it to be made-to-measure special order piece that would be considered demi-couture.

This Lanvin skirt is utterly fantastic. I am in absolute love with it. The color, the crisp design, the workmanship - everything about it is perfection. The silk it is made out of is a fine silk twill which gives it the perfect touch of weight to hold the lines that you see. The pattern is screened onto that and combines florals and leaves running in horizontal rows across the skirt. The backdrop is a clear red and then greens, blues and soft pinks are layered over that to create the print that you see. A Crahay signature was to finish his hems with something that contrasted the prints that he used. Here we see that done a flat pleated deep green silk wide ribbon that is then finished with a black lace under that that picks up on parts of the design of a silk above. The bottom detail on his pieces were not only a beautiful visual addition to his work but also help to anchor and hold the fullness and shape that he desired. The skirt falls from the nipped in waist and gradually widens out to the hem. It is quite full. I did not photo it with any additional underskirts but if you wanted more fullness you could easily add one. Inside it has a full separate red underskirt detailed with black ribbon near its hem. The beauty of the color combination is equaled by the fine workmanship that has gone into constructing it. It is really a work of art and a very special piece. Excellent condition.

Fully lined in a red silk as noted above and closes with a painted metal zipper and a button at the waist. A combination of hand and machine finishes with all the internal vertical seams finished by hand. It appears to have been worn very little if at all.

Hips: open
Length: 37.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# S990

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

In 1951 a 27 year old James Galanos launched his first label called Galanos Originals. By 1954 he had won a Coty award and the Neiman Marcus award. By 1958 he was producing clothing that could range in price from $200 to $3000, an astronomical price for ready-to-wear for that time period. His ready-to-wear line was made close to couture standards and with a level of craftsmanship that was on par with the French couturiers. Galanos was a master cutter and draper and he used many couture techniques in his work. Grace Kelly was an early fan. He was truly one of the great American designers and his work is held in all of the major museums around the world. He is one of my personal favourites. This dress is absolutely gorgeous and has been in my archives for some time. It is just so striking. 

This dress dates to the late 1970s or early 1980s. It is absolutely gorgeous and as good as it looks in the photos, it is even better in person. The quality of the silk jersey fabric is remarkable and it glides effortlessly over the body and falls like a dream. The jersey is light and fine and this allows it to move and flow as you walk and move. The dress is suspended from a single strap that curves over one shoulder. At the front the jersey rises in a sharp peak to meet that strap at the top of the shoulder. It angle down low across to the other side and then wraps around to the back. The back is set on a softer angle to leave your upper back bare. This bare expanse of skin is broken only by that skinny silk strap that angles across you. The tiny strap against the bare expanse of skin is stunning. The entire top of the bodice, back and front, has been intricately pleated with rounded, fluted box pleats. These are one of the hardest pleats to execute and on this dress they're executed to perfection. A hand set tacked partial seam runs just under the bust and follows the angle above. From under that they open and flow into the silk of the skirt. The skirt falls to the floor in a beautiful column of silk. On either side of the waist there is a attached wide silk ribbon in a deep olive colour. This ribbon is attached through the seam on either side and then runs around the inside of the back. You tie it at the front and it brings the waist in and adds shape. At the back the silk falls in a loose column over the interior ribbon all the way down to the hem. The effect this has once on and when you move is fantastic. It is fabulous on the body. Excellent condition.

The bodice is lined and it has some light interior structure. The rest of the dress is unlined. It closes with a side zipper. Hand work throughout. The loose through the body should allow it to fit a range of sizes

Bust: covers to 16" flat across from side to side with no true side seam
Waist: 13.5" flat across from side seam to side seam at the back where the ribbon creates a set size. The front is open and loose
Hips: open
Length: 59" from top of shoulder to hem with 2.5" turned under

Modern Sizing Equivalent: XS-MED

Item# DD4264

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 always love when I find these. I have had versions of this piece a couple of times now in the shop and they always get snatched up immediately. This is from the Halston IV line and is a made from a black washable jersey. The simple, classic design makes it an easy way to be instantly dressed up and still entirely comfortable. Rachel Zoe owns and wears a version of this in the green version and I included a shot of myself on a close looking one. It just proves that this is an incredible and glamorous staple piece that you can wear again and again.

Halston is one of those rare labels where the more time that goes by since the pieces were originally made it feel like the more relevant his pieces become. This is one of those pieces that will instantly become a closet staple for you. It is a no brainer in that you just slip it on and you know that you will look and feel amazing. It has his signature simplicity and ease with a touch of that Studio 54 sexiness thrown in. It simply slips on and is a wash and wear jersey. This one is more of a true caftan than the one I had on the shop previously and it is fantastic. The body of the dress is cut very loose and easy and it narrows down as it reaches the hem. To wear it you just slip it on and then slip your arms through the holes on either side of the seams of the dress. The seams are at the outer edges of the caftan which means this should fit just about anybody. A front slit allows a bit of leg to show when you move or sit. The front falls in a simple V for the perfect bit of skin to balance out the coverage of the dress. The basic black means you can wear it with just about anything and dress it up or down depending on how you style it. Brilliantly Halston in every way and very easy to wear. Excellent condition with a minor note below 

Unlined and slips on to wear. The easy cut and fabric should allow it to fit any size and it is tagged as being 'one size fits all'. I see some light pilling on the interior of the back hem and perhaps the tiniest bit of fading along the edge of the neckline. Very minor and only in a bright light. 

Width: 50" across tjhe widest point from side seam to side seam
Length: approx 55" from neck to the hem
Slit: 20.5" from the front hem up

Modern Sizing Equivalent: OSFA

Item# DD4265

Reference photos: (1) Cherie, Owner of Shrimpton Couture.  /  (2) Rachel Zoe in a similar green version at a Calvin Klein event.  /  (3) Rachel Zoe more recently in Montauk.

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

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 dress is exceptional. It comes to me directly from the family that the other recent Gres pieces have come from. Her son told me that 'Madame Grès would let her wear many dresses as she was size model and those she really liked she purchased afterwards.' This was one of those that she kept and it is a very special piece. He remembers her wearing this around 1960 to some galas. This is also the time period that she would have had that relationship with Madame Gres. In the course of researching the dress we found that the 1958 and 1959 collections in particular were ones that featured braided details and cape elements like this dress has. I have included here some examples other dresses by Gres that share some of those common elements to this one from those years for you to see.

This is one of the most stunning dresses I have ever had in the shop. It is made from a biased cut silk chiffon with a small abstract print on it. From a distance it gives you that beautiful mottled red effect. Then as you look closer at the fabric you see that there is a deeper red, coral, soft green and a blue that all work together to form a pretty abstract floral print. The dress itself is simple and minimalist. It falls from the shoulder with wide straps that are made from hand gathering the silk chiffon and hand stitching them in these incredible little curved sections to create the illusion that the silk has been braided. These curve over the shoulders and then follow the neckline for a square off feel at the front. At the back they run down to the mid back and then run across in a straight line there as well for that same squared off finish there. The body of the dress falls from under that detailing in a swoop of bias cut silk. By the time it reaches the hem it is quite full. When you are standing still you get a soft column feel but then when you move you get incredible movement. The dress is lined in a layer of biased cut ivory silk and this gives the top layer and that pattern more depth. The silk is as light as air. Every seam on the dress has been finished by hand. Working with a silk chiffon as fine as this makes that an incredible achievement that would've taken countless hours of handwork. The dress is stunning on its own but this is a set and it comes with a incredible matching caped piece that has such  an unusual and beautiful design. Two wide panels done in a single layer of silk chiffon are sewn together at the top of the neck at the back and then they hook together at the front. The panels fall over each shoulder to the floor and just past the hem of the dress. It is incredibly light in weight. This allows the slightest bit of air to pick them up so that they waft and float around you as you move. If that was not already beautiful enough the cape is topped by an oversized hood made of the same silk chiffon. It is cut extra long at the back and in such a way that when it is off the head the ends twirl on their own. I have taken a photo of this for you because it is just such an incredible detail. It's something that happens naturally and on its own as a result of how the silk has been placed and sewn into place. When the hood is up it falls gently around the face to frame it. The dress is in incredible condition and appears to have never been worn. It is literally a work of art and one of the most special things I've ever had in the shop. This is truly an extraordinary piece of modern couture and is exceptionally beautiful. No matter how good you think it looks in the photos, it is better in person. Excellent condition.

The dress is lined in a fine ivory silk. There is handmade soft inner corset set inside and under the ivory layer and it closes with its own zipper. The ivory silk lining closes over that with its own zipper and then the outer layer of the dress closes with hidden set tiny snaps. The cape hooks to close at the front. An inner waist stay hooks to close with metal couture hooks. I see a very tiny and finely done seam at the base of where it snaps to close at the front and I'm not sure if it is there deliberately or if it was a repair at one time but it's invisible when the dress is on. Please see the photo after the label shot. It appears to have been worn very little if at all. The dress is finished to Haute Couture standards and entirely made by hand. The proper Haute Couture label is present. The bias cut of the dress does allow for a range of measurements and I have listed those below to the comfortable range laying flat where that applies. Note that due to the value of this dress returns will not be accepted so that it ships only one time.

Inner waist stay: 12.5" flat across from side seam to side seam
Inner hips: to 23" flat across from side seam to side seam
Length: 58" from top of shoulder  to hem
Cape: 65" from neck to hem and will come up a touch when on the shoulders

Modern Sizing Equivalent: XS-SML

Item# DD4254

Reference Photos: (1) 1958 Madame Gres Evening Dress in The MET Collection. /  (2) Madame Gres evening dress, L'officiel de la mode, 1958.  /  (3) 1959 Madame Gres Evening Dress in the Chicago History Museum 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.

The Bessi company was launched in 1950 but it was not until 1968 that it started producing the printed pieces that the label is now associated with. Like Pucci he signed all his prints and created them himself. In terms of style, construction and quality, Bessi dresses were often on par with Pucci and Leonard, especially the ones from the late sixties to mid seventies. I have had a dress in this same print and I love seeing it on these as well

Some pieces just make you happy inside when you see them and these pants fit that bill. It is an absolutely gorgeous Bessi piece that is a super easy way to add a little instant pop of vintage into your wardrobe. They are made out of a silk jersey that glides and skims over your body perfectly. This fabric choice makes it extremely comfortable to wear and move in. The waist is banded with one of their signature contrasting prints. The legs are cut wide and straight with a slight flare when they reach the bottom. I love that the bottom is also finished with that band of contrasting print. The colour combination is fabulous. The base is a light purple-blue color with a pretty print done in little pops of different shade of pink. The floral and swirling design covers the entire surface of the pants to work together beautifully. Excellent condition

Unlined and they close with a side zipper and hook an eye at the waist. You could move the hook and eye and snap if needed. It looks like this has been done in the past. The fabric through the body of the pants does have some stretch this is reflected in the hip measurement below.

Waist: 14" flat across from side seam to side seam
Hips: 19-22" flat across from side seam to side seam
Length: 41" from top of bodice to waist
Inseam: 28" from waist to hem
Rise: 17" from waist to inner seam

Modern Sizing Equivalent: SML-MED

Item# S985

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

Bill Blass launched his label in 1970 when he bought out the Maurice Rentner label and re-launched it under his own name. Blass was arguably one of the most famous of  the American designers. His forte was the ability to mix simple styles with unexpected materials in way that was very flattering to the wearer. These pants are so unusual and must've been a part of a resort or spring line. I absolutely love them.

These are based on a simple fisherman pants that you see in many cultures around the world. You have to wonder if he travelled somewhere and was inspired to make a version for the West. They are made out of a beautiful Indian cotton. The colour of the cotton is a deep blue that then has a blocked pattern done in red and a matte gold on it. This completely covers the pants from top to bottom. As they near the hem of the pants the pattern changes to a horizontal stripe that gets smaller and more intricate. The pattern gets far more dense and anchors the pants. They have no closures. To wear them they are simply tied into place. They are seamed down the center of the body and then along the inner edge of each leg. The outer part of the leg is completely open and this  is what allows it to wrap around you. To wear them you hold the front in place and tie it at the back. Then you grab the pant from between the legs and bring it up over the back and tie that in the front. There is enough fabric in the legs that the resulting wrap over at the side keeps you covered. When you walk or move you do get a bit of leg showing at the very bottom. It's extremely simple and ingenious. You can't give Mr. Blass credit for the design but they are a great pair of pants. These would be fantastic to travel with and you can easily dress them up or down because of the print. Excellent condition

Unlined and they tied to wear as described above. They appear to have been worn very little if at all and the wrap does give some flexibility in measurements. These are very hard to measure so I've given approximate laying flat of the material it will cover and then you watch overlap is it wraps around you.

Waist: the fabric on both sides is 29" wide before the ties extend. This makes the waist and hips adjustable
Length: 44.5" from top of bodice to waist
Inseam: 33" from waist to hem
Rise: 13.5" from waist to inner seam

Modern Sizing Equivalent: XS-MED

Item# S986

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 particular design from the Halston IV line is one of my favorites besides the one shoulder dresses I find for you. The design is so simple but at the same time it has so much impact with its bare and sexy feel created by the plunging front and sides. It is an incredible piece that you can wear over and over and style it in a zillion ways depending on what you pair with it. I have included some reference photos from the main Halston line that shows where the design for this dress originated. I have also included photos of Martha Hunt and Emmy Rossum who both have worn the twin of this dress from my archives. I love having these photos because it lets you see just how fabulous this dress is on.

This is a dress that is insanely sexy and bare feeling yet the ivory colour of it keeps it feeling fresh with a touch of innocence to it. It somehow manages to walk that line in that very Halston kind of way. The dress is made of a wash and wear cream coloured jersey. It has amazing drape and it feels easy-to-wear once on the body. The bodice has a halter style front that plunges right to the waist. It has an opening that you slip your head through and then a panel of the same fabric drapes over the back. Long ties extend out from each side of the panel and you use these to wrap it into place and tie it at the front. At the back this leaves a gap between the bottom of the panel and the waist for a little flash of skin. The sides are also left open and bare to the waist. Despite its bareness it is cleverly cut so that when you have it on it stays in place. The ties snatch in the waist as much as you want and the skirt falls from there. There is a lot of fabric in the skirt and this gives a tremendous movement when you move. The dress has the added bonus of traveling very well. It is the kind of piece that you can throw into your suitcase and slip on with either flats or heels when you reach your destination and be instantly ready to go. This would make an amazing wedding dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. And of course it could also be worn to any event. Excellent condition with a minor note below

Unlined and slips on to wear. There is elastic through the waist and it ties into place as described above. This makes it very easy to fit and it should fit a range of sizes. If you don't like how it dips in the back and leaves that space you could easily tighten the elastic more or tie it in a way so it doesn't do that. I see perhaps the faintest a bit of darkening here and there in the skirt. This is only seen when it's laid out flat. There's so much fabric that I really just mentioning to be very picky. The easy cut and elastic waist should allow it to fit a range of sizes

Bust: no true side seems but each triangle covers up to13.5" flat across
Waist: 17-21" flat across from side seam to side seam and you use the tie to belt to cinch it in
Hips: open
Bodice: 15.5" from neck to waist
Skirt: 44" from waist to hem and the back extends down couple inches lower

Modern Sizing Equivalent: SML-LRG

Item# DD4250

Reference Photos: (1) Emmy Rossum in Halston for Harper's Bazaar US.  /  (2) Martha Hunt in Halston.  /  (3) Spring 1973 Halston Runway.  /  (4-6) Spring 1977 Halston Runway.

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

Bill Gibb was one of the most influential designers in 1970s Britain and his clothes were worn by the rich, the famous and the beautiful. Much of his work verged on couture and he was unrelenting in striving for perfection. His work has a high fantasy element to it. Every piece I bring into the shop is very special and the range he had was incredible. I recently had a deep brown version of this dress in the shop only a couple of weeks ago and I'm very pleased to have another one so soon. This dress is also a little extra special because its twin in ivory was part of the 'Great Names in Fashion' exhibit at the Fashion Museum Bath.

The body of the dress is made of a fluid black jersey fabric that is light in weight and drapes amazingly on the body. It cascades and flows to the floor from the densely beaded panel that sits across the upper bust. A second matching panel is also set at the back. Both panels have been completely hand covered with a design that is made out of hundreds of ivory and gold glass tube beads. Along the one side of the front panel there is a row of hand carved mother or pearl buttons that runs from the top of the shoulder to just past the waist. The buttons are functional and hold a decorative overlay in place that tops the inner dress. This overlay loops under the opposite arm and wraps around you to the back where it attaches to the panel there. The overly adds this incredible draped Grecian feel to the dress and it also gives it added movement when you move. The dress underneath is a long sheath that falls from the shoulders and widens out slightly as it nears the hem. The sleeves are long and each one ends with more of the MOP buttons. The entire dress is detailed with these strips of tiny little raised beads on a silver strip. These follow all of the edges of the dress and he even use them for all of the long interior seams of the inner dress even though you don't easily see them. I just love that he did that and it just shows you the attention that was paid to dresses during this time period as opposed to modern pieces where they probably wouldn't have bothered to put extra detailing where no one would ever see it. The strips add a touch of weight and help the dress to fall perfectly around you and they also catch the light for added glamour. During this time period these jerseys would have been cutting edge fabrics and an unusual choice for a designer to use and considered very avant garde. It is stunning and a beautiful example of Bill Gibb's work and its never a bad thing when it is a proven museum worthy piece. Excellent condition with a tiny note below

The dress is unlined and slips over the head top wear. The attached panel buttons into place over the interior dress. Each cuff has loop and buttons to close. It appears have been worn very little if at all. The loose and easy cut should allow it to fit a range of sizes. I have given the comfortable range of measurements while laying flat. On a smaller frame it will just drape more. The striped applique at the top of one shoulder has a couple of beads missing on one part. Please see the photo after the label shot

Sleeves: 21.5"
Slightly dropped shoulders: 15"
Bust: 15-18.5" flat across from side seam to side seam
Waist: 14-19" flat across from side seam to side seam
Hips: 16-22" flat across from side seam to side seam
Length: 58" from top of shoulder to hem

Modern Sizing Equivalent: XS-MED

Item# DD4232

Reference Photos: Bill Gibb Dress on display at the "Great Names of Fashion Display" Exhibit at Fashion Museum Bath.

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 an extraordinarily rare example of the work that Ossie Clark and Celia Birtwell were doing together in the very early 1970s. What makes this dress unusual is that it features one of Celia's prints but the print has been embroidered onto the dress rather than screened like they normally are. There is a even more elaborate version of the dress in the Ossie Clark book that I have shared here for dating reference. I have seen long versions with the embroidery on them come up for sale but those only have a small amount of detail on the bodice usually. This is the only one I've seen with this amount of extensive embroidery on it. It is utterly fantastic.

Ossie somehow manages to take a rather conservative feeling piece of clothing and work in the flow and drape that he was known for. His pieces always have a touch of sexuality to them that became one of his trademarks. Even with a dress like this where you are fully covered something magical happens once this lands on an actual body. The dress made out of a classic black moss crepe. The neckline is in a shallow V and there are button and loops that run across the top of each shoulder for added detailing. It is cut to skim over the bust to the waist. We see the influence of the 1930s in this dress with the curved vertical seams that run down the center of the bust and the gathered angled seam around the waist. The waist has attached ties on both sides. These wrap around and tie to cinch in the waist and add more shape. The skirt flows and flares out from there. It skims over the hips and then begins to flare out. There is a lot of movement in the lower skirt created by an added panel at the bottom of the skirt. I love the curved seam that attaches this lower panel to the dress. This gives it tons of movement when you move. The sleeves are have a touch of a cap at their tops and narrow down to a button at the wrist. That spectacular moon and stars print by Celia Birtwell covers the entire dress. To emphasize the shape and different parts of the dress the embroidery has been applied in different weights. Denser in some and more scattered inothers. This label is from the couture Ossie Clark line and it specifically what's the print is by Celia Birtwell. The midi length makes it extra versatile and it is a dress that will easily go from day to night. This is an exceptionally rare example of the pairs work. Excellent condition

Unlined and closes with a back set zipper. Attached ties at the waist. Each cuff has one fabric covered buttons at the wrist. Tagged an vintage UK 10.

Sleeves: 24"
Shoulders: no true define seam
Bust: 16" flat across from side seam to side seam
Waist: to 13" flat across from side seam to side seam
Hips: to 17.5" flat across from side seam to side seam
Length: 44" from top of shoulder to hem

Modern Sizing Equivalent: XXS-XS

Item# DD4244

Reference Photo: "The sun and moon dress that Ossie made for Nicky Samuel, satin-backed silk crepe with embroidery applique, c.1971" from the book Ossie Clark 1965|74 by Judith Watt.

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

Bill Gibb was one of the most influential designers in 1970s Britain and his clothes were worn by the rich, the famous and the beautiful. Much of his work verged on couture and he was unrelenting in striving for perfection. His work has a high fantasy element to it. Every piece I bring into the shop is very special and the range he had was incredible. This set is also a little extra special because its twin in ivory was part of the 'Great Names in Fashion' exhibit at the Fashion Museum Bath

The body of the dress is made of a deep brown fluid jersey fabric that is light in weight and drapes amazingly on the body. It cascades and flows to the floor from the densely beaded panel that sits across the upper bust. A second matching panel is also set at the back. Both panels have been completely hand covered with a design that is made out of hundreds of soft pink, cream and silver glass tube beads. Along the one side of the front panel there is a row of metal buttons with a little flower design on them that runs from the top of the shoulder to just past the waist. The buttons are functional and hold a decorative overlay in place that tops the inner dress. This overlay loops under the opposite arm and wraps around you to the back where it attaches to the panel there. The overly adds this incredible draped Grecian feel to the dress and it also gives it added movement when you move. The dress underneath is a long sheath that falls from the shoulders and widens out slightly as it nears the hem. The sleeves are long and each one ends with more of the gold metal buttons. The entire dress is detailed with these strips of tiny little raised beads on a gold strip. These follow all of the edges of the dress and he even use them for all of the long interior seams of the inner dress even though you don't easily see them. I just love that he did that and it just shows you the attention that was paid to dresses during this time period as opposed to modern pieces where they probably wouldn't have bothered to put extra detailing where no one would ever see it. The strips add a touch of weight and help the dress to fall perfectly around you and they also catch the light for added glamour. During this time period these jerseys would have been cutting edge fabrics and an unusual choice for a designer to use and considered very avant garde. It is stunning and a beautiful example of Bill Gibb's work and its never a bad thing when it is a proven museum worthy piece. Excellent condition.

The dress is unlined and slips over the head top wear. The attached panel buttons into place over the interior dress. Each cuff has loop and buttons to close. It appears have been worn very little if at all. The loose and easy cut should allow it to fit a range of sizes. I have given the comfortable range of measurements while laying flat. On a smaller frame it will just drape more

Sleeves: 24"
Slightly dropped shoulders: 15.5"
Bust: 16-19.5" flat across from side seam to side seam
Waist: 16-20" flat across from side seam to side seam
Hips: 18-22" flat across from side seam to side seam
Length: 57.5" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4232

Reference Photos: Bill Gibb Dress on display at the "Great Names of Fashion Display" Exhibit at Fashion Museum Bath.

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

In 1952, Givenchy founded his namesake house on Rue Alfred de Vigny in Paris and quickly rose to fame as one of the grand couturiers. 16 years later for the 1968-69 season, he added a ready-to-wear line of clothing and accessories called 'Givenchy Nouvelle Boutique'. The line was initially sold in the United States exclusively through Bergdorf Goodman stores and was eventually available at other retailers as well. The line was high end and extremely well made. He launched this line to expand his customer base and it made to appeal specifically to his non-couture clients. This label continued until 1992. This set is very reminiscent of the pieces that Audrey Hepburn was wearing in the 1972 to 1976 time period. It's labels are extra interesting. Besides the Givenchy Nouvelle label in the top, it also has the black boutique label on the skirt and that label has a numbered tape behind it, which was usually reserved for special orders made in the atelier. I wonder if the original client perhaps bought the ready-to-wear top and then had a skirt custom-made… or perhaps both pieces were a special order and they just used a label on the top that was on hand in order to put the fabric content tag on. It just makes the set a little extra interesting. It could not be more gorgeous.

The set is made up of two separate pieces, a skirt and matching top. They are both made out of a cotton fabric that has a slight ribbed texture running through it. Over that is a charming little design that depicts hundreds of little round pine cones that completely cover both pieces. The backdrop is black and the print is a deep coral orange. The top is stunning. It has an elastic neckline that is squared off at the front. The sleeves are shaped into a high cap and have a little bit of stiffened black tulle underneath their edges to help hold the shape that you see. The elastic that runs through the entire neckline would allow you to wear this off-shoulder if you wished. The top skims over the bust and then widens out over the waist to its hem. It is very easy to wear and it's only when tucked into the skirt that you get shape. Each sleeve is full and poufed above its elastic cuff. You can then wear that tucked into the skirt. The skirt has a band at the waist and then is very full under that. When you stand still it falls in a pretty column but when you move you see that there are actually yards and yards of fabric in the skirt. The skirt is made of two tiers of fabric. One that is gathered into the band at the waist and then the other one is set on top of that with a ruffled finish to create a deep 20" lower hem all the around the bottom. It's spectacular. The cotton keeps it light and easy to wear while the cut and design are phenomenal. This is beautiful and classic Givenchy for this time period. I've included some reference photos of Audrey so you can see how beautifully pieces similar to this sit on the body. It appears to have been worn very little if at all. Excellent condition

Both pieces are unlined. The top slips over the head with elastic at the neckline and cuffs. Stiffened tulle at the top of each shoulder for shape. The skirt closes with hook and eye at the waist and snaps below that. Both pieces look to have been worn very little if at all.

Top
Sleeves: approx 19" and will come up when on
Bust: 16-21" flat across from side seam to side seam
Waist: 17-19" flat across from side seam to side seam
Bottom hem: 19-22" flat across from side seam to side seam
Length: 25" from top of shoulder to hem

Skirt
Waist: 12" flat across from side seam to side seam and you could easily move the hooks at the waist to get 1.5" more
Hips: open
Length: 42" from waist to hem with 2" turned under the hem

Modern Sizing Equivalent: XS-SML

Item# DD4220

Reference Photos: (1) Audrey Hepburn, in Givenchy, photographed by Henry Clarke for Italian Vogue, Feb 1972.  /   (2) Audrey Hepburn, in Givenchy, photographed by Elisabetta Catalano at her apartment in Rome, March 1976.

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 superb and elaborate Christian Dior dress from the Marc Bohan years. It is a wonderful example of the work being done during this time period and shows the restraint that the label could have 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. Don't let the simplicity of the cut fool you. The closer you get to it the more you see the incredible and elaborate amount of detail that has been put into this fabric. This is a dream to wear and no matter good you think it looks in these photos to see this one in person will make your jaw drop.

The dress is made from a black silk net that has an incredible lace floral pattern that is edged in black silk cording worked through the lace. It is made from three layers. The top beaded layer, a black silk chiffon layer under that and then a nude silk chiffon inner layer that is itself backed in a black silk. Adding that nude layer gives the dress a bit of an illusion of wearing next to 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's cut to skim over the body from bust to hips with no seaming to break the eye or design of the bead work. The shape is created by vertical seaming on the inner layers and the top layer is shaped to follow those resulting curves. The skirt falls to the ground from there and widens out gradually as it nears the hem. The lace netting is covered with an elaborate design made of bead work and sequins. The design is done heavier around the top the bodice and down over the waist lightens as it goes over the hips and then becomes dense and heavy at the ham. Part of the work is done to follow the lace pattern on the netting. Glossy black sequins curve over the underlying pattern and where they are applied they are stacked and layered over each other to give a slight 3-D feel. Small faceted beads follow other parts of the pattern and these are the same beads that are used to highlight the straps. Tiny little seed beads are thrown into the mix and then there are square pailettes and oval faceted beads how much larger scale to really create impact. The beads are all applied by hand and catch the light from every angle. It's an incredible thing to see and even better once on the body. 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. This is a dress that you just slip on and it is perfection. Excellent condition.

Fully lined as per the description above. It closes with a hidden set side zipper. Numbered tag. The slight bias cut will allow for a bit of movement in the measurements. The comfortable range is listed below

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# DD4241

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