• This dress is from the Spring 1976 Collection
• It was made under the creative direction of Roy Halston.
• These front tie dresses are one of the most iconic signature pieces from Halston. It was heavily documented that season and remains one of the most beloved silhouettes of all the pieces he designed.
• Halston created several of these dresses in different colours that season. They tended to be mainly produced in a bias cut silk or a hammered bias cut silk and rarely in velvet. Even the silk versions are hard to find now and finding one in a black velvet is very rare.
• It is said that before even putting scissors to fabric, Halston already had a mental image of how he wanted to dress to look. He believed that evening pieces should be as easy-to-wear and comfortable as day wear but absolutely elegant at the same time. When these dresses were shown for the first time in 1976 the press dubbed them as being "clean and and yet still with sex appeal".
• This is from the main Halston label and these were pieces were custom-made or made to order at this point in the brands history.
  
• The dress is strapless and ties at the front of the bust. This creates a little discreet keyhole under the tie. It also allows you to adjust the fit by how loose or tight you tie it.
• The cut is very forgiving as it skims over the bust, comes in slightly at the waist. and then curves back out over the hips. It is not meant to be super fitted. This is a dress that is very easy to fit. On a smaller frame it drapes more and the bias cut will allow it to move to accommodate if you need more room.
• From there it continues to skim over the body all the way to the hem widening out slightly as it nears the floor.
• The seaming is all set on an angled curve that wraps around the body. This means the entire dress is made out of one piece of black velvet. Do not underestimate its simplicity. Creating the dress in this way is actually quite complex and a technical challenge. Without seaming at the sides, the shape of the dress completely relies on the way it drapes, making it a much more difficult task and complex problem to have it fall over the body as perfectly as it does.
• Personally, I think this might be one of the most iconic little black dresses to have ever been created. It's a highly collectible piece for the Halston collector. 
• The dress is fully lined in a black silk and slips on to wear with a tie at the front that you can adjust for fit. I see slight change in the pile of the velvet where it ties at the front from being tied. This is a natural occurrence and is not considered a flaw but mentioned for accuracy.
• There is no size tag present so please go by the measurements listed below
• Excellent condition

Bust: approx 17-19.5" flat across from side seam to side seam with the ability to adjust the size at the front because of the tie
Waist: 15-21" flat across from side seam to side seam
Hips: 18-24" flat across from side seam to side seam
Total length: 56" from top of bodice to hem with approx 2.5" turned under the hem

Modern Sizing Equivalent: SML-LRG

Item# DD5596

Reference Photos: (1) ‘The Strapless’ in Women’s Wear Daily, August 1976. / (2) ‘The New York Collections: Easy Winners!’, Jacques Malignon for Vogue, September 1976. / (3) ‘Your Night to Star’, Ladies Home Journal, December 1976. / (4) Elizabeth Taylor in Halston at the 1976 Oscars. / (5) Marisa Berenson in Halston, Vogue 1976. Photo by Richard Avedon. / (6) "Yves Saint Laurent + Halston. Fashioning the 70s" Exhibit at the Museum at FIT, 2015. / (7) Halston's original sketch for the tie-front strapless dress & Lee Radziwell, 1976.  / (8) Rachel Zoe in Halston at the Zoe Report Dinner, 2014.  /  (9-10) Cherie, Owner of Shrimpton Couture.  /  (11-13) Spring 1976 Halston Runway.

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.

• Based on the jagged flame pattern on the dress, this dress is almost certainly from the 1973 season.
• It was made under the creative direction of Loris Azzaro
• Loris Azzaro launched his label in 1967 and quickly defined his trademark looks by using ornate fabrics and avant garde ways of defining the body. Some of the most beautiful women in the world wore his clothing including Marisa Berenson, Raquel Welch, Jane Birkin, Sophia Loren, Brigitte Bardot and Tina Turner.
• It was a label that defined sexiness and had a certain French flare that women world-wide loved. By the seventies and eighties he was experimenting with volume and proportions and new fabrics that at the time were all cutting edge. This is a stunning example of his work during the mid-seventies.
• This is a dress that will come to life even more once on an actual body and I hope the photos convey enough of how fabulous it is because when worn this one will be even better.
• The entire body of the dress is covered with densely applied black sequins and these catch the light from every angle.
• The sequins are set in long vertical rows to the hem and appeared to have been all hand placed.
• The top of the bodice is a single layer of black silk chiffon. This bit of transparency adds an incredibly sexy feel. 
• He used that same silk chiffon down the back where it dips into a low scoop.
• I love the way that the jagged flame pattern defines the bust and that low scoop at the back.
• A high slit up one side lets you have the perfect flash of skin when you walk or sit.
• The dress is fully lined through the body in a black silk and it zips to close at the back. 
• Excellent condition

Bust: to 21" flat across from side seam to side seam
Waist: to 19" flat across from side seam to side seam
Hips: to 22.5" flat across from side seam to side seam
Length: 57.5" from top of shoulder to hem with 2.5" turned under
Slit: 19.5" from hem up

Modern Sizing Equivalent: MED-XL

Item# DD5595

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. / (7) Spring 1973 Loris Azzaro Couture.

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.

• The label on this dress date it to the 1970s period.
• It was made under the creative direction of James Galanos.
• 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.
• 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. He was truly one of the great American designers and his work is held in all of the major museums around the world.
• This is a dress that is extremely well made with a very high level of construction techniques.
• The dress is made out of the most beautiful floral print silk chiffon in a mix of soft pastels. The print forms large flowers that cascade over the entire dress.
• There is a full inner bodice made of the same printed silk chiffon. This inner piece has straps that curve up and around the shoulders with a scoop at the front and back. Blousing over that is a fuller cut, single layer of the silk chiffon. It has long sleeves that narrow to the cuff and the most incredible beaded butterfly that is completely made by hand adorning the front. It is spectacularly beautiful.
• The waist nips in and the dress comes with a matching silk covered leather belt.
• The silk is gathered into the waist seam on one side so that it wraps around you. There is a high slit hidden underneath the wrap over on one side and another matching high slit on the other side so you get an unexpected flash of bare leg when you move or sit.
• The workmanship on the dress is absolutely stunning and the vast majority of it is all done by hand including the butterfly at the front.
• The inner bodice that sits under the top acts as the lining and then that is lined with another layer of nude silk chiffon. The skirt is made of two layers of chiffon. It zips to close at the back with a hand set zipper and the outer bodice hooks to close at the back of the neck. Each sleeve ends in a little zipper. I see a tiny pinhole just above the butterfly at the front and some very minor repairs - one near the neckline of the back and some near the hem. Please see the photos after the label shot.
• The dress has no size tag so please go by the listed measurements below.
• Excellent condition with the notes above.

Sleeves: 23" and they are 14" around the upper arm
Shoulders: 15"
Inner bust: to 17.5" flat across from side seam to side seam
Inner waist: to 13.5" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: 15" from top of shoulder to waist
Total length: 62" from top of shoulder to the longest point of the hem

Modern Sizing Equivalent: SML-MED

Item# DD5574

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 beautiful example of Bill Gibbs work from the early 1970s.
• It was made under the creative direction of Bill Gibb
• Gibb was one of the most influential designers in 1970s Britain and his clothes were sought out and worn by the rich and famous. His work has a high fantasy element and he was crowned Designer of the Year in 1970. Much of his work verged on couture and he was unrelenting in striving for perfection.
• The dress is made from a silk chiffon that has been dyed to a deep pink that gradually darkens and colour as it loves down both the top and skirt of the dress. I love the depth this creates and how it highlights the parts of the dress.
• The sleeves start off wide as they come out from just above the waist. They narrow down to their ends from there.
• The front and back dip into a V and the neckline is cut so that it sits wider across the shoulders. There is a little silk flower finished with sequins nestled at the base of the front V.
• From just under the bust to the top of the hips the silk has been hand gathered and fitted for shape.
• The skirt falls to the floor from there in a sweep of silk chiffon.
• Pink glitter is fused onto the silk in a wide panel all the way around the lower skirt. This catches the light from every angle and as the perfect subtle touch of glitz.
• Under the top layer of silk chiffon of the skirt is an inner lining in a pale silver blue. The two colours layered over each other adds an extra dimension to the skirt that is even better in person.
• Iridescent round bubble buttons are the perfect finish on each cuff.
• The dress is fully lined in a pale silver blue silk and closes with a side zipper with hook and eye along part of the bottom seaming of the arm just above the zipper going into the under part of the sleeve. Glass buttons on each cuff. I see a tiny repair under one arm. 
• There is no size tag present. Please go by the measurements listed below.
• Excellent condition

Sleeves: approx 23" and they are full and open around the upper arm
Shoulders: no defined seam
Bust: no true side seams so open and variable
Natural waist: 14.5" flat across from side seam to side seam
Seam at the top of the hip: 18.5" flat across from side seam to side seam
Bodice: 24" from the top of the shoulder to the seam at the top of the hip
Total length: 57" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD5573

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 is from 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. Since we have had that original dress we happened to find the runway photo of the dress firmly dating it to Fall 1979.
• A similar version of this dress was worn by Slim Keith to attend the Met Museum Gala that year. We have also included a couple of shots of me in the one we had previously to give you an idea of how it is on.
• And a note to those who prefer not to wear fur; you could always un-tack and remove the sleeves and replace them with a faux version, feathers or anything you could imagine, or leave them without as Slim did and just store the cuffs for archival purposes.
• This dress is one of the best that he ever made. The dress has elements of his work that he would touch on continuously over the coming decades. It is also a wonderful example of just how sophisticated and glamorous he could be.
• The silk chiffon used for the base is feather light and it has a fine gold, metallic lurex thread that is woven through the silk to create vertical stripes.
• Hand applied gold sequins were then added to follow those gold threads. The sequins catch the light beautifully and add another dimension and texture to the dress.
• There is a subtle leaf print that runs through the silk and this adds a beautiful extra level of visual texture. 
• The upper part of the skirt is the same deep red as the bodice of the dress and then that leaf print gradually becomes more dense until it forms a solid soft brown around the lower hem. There is a slit up the front to let you walk.
• The dress has a nod to the 1930s in its cut but he has exaggerated some of the elements to keep it modern.
• The bodice crosses over itself and there is a built in brown silk under piece so that you can wear the dress and not have it completely transparent. On the bodice there are no sequins and this is deliberate to keep it lighter in feel.
• The sleeves extend directly out from the bodice and they narrow down as they reach the cuff. The cuffs are both finished with a 7" band of fur that is either a mink or a sable. It is gorgeous.
• The dress is fully lined in brown silk chiffon and closes with a hidden set box zipper. Hand finishes and hand set sequins. The cuffs have perhaps the very slightest of wear to the edges and are soft and supple. 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# DD5563

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.

• 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

Reference Photos: Fall 1972 Yves Saint Laurent.

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

• This is a gorgeous early-mid 1970s YSL piece.
• It was made under the creative direction of Yves Saint Laurent 
  
• The dress is so romantic and dreamy feeling. I love that you have the option of wearing it full and open in more of a tent/ caftan dress style or you can use its matching belt to cinch in the waist as much as you wish.
• The dress is made out of a feather light ivory silk that has a touch of crispness to it.
• The sleeves are magnificent. Each is set high into the shoulder and gathered along the top. They puff out around the upper shoulder and then narrow down to a ruffle cuff with a single button and loop.
• The neck is set a touch wider across and the dress is gathered into the neck line down the centre of both the front and back.
• From there the dress falls wide and open to the floor. I love that the back skirt is cut a touch longer than the front. It gives it this beautiful sweeping feel behind you. The very bottom hem is finished with a ruffle to pick up the ruffle on the sleeves.
• The dress comes with its original matching wide tie belt in the same fabric. You can tie the belt right under the bust for a more empire feel or you can cinch it around your natural waist. I love the versatility of this.
• The dress is unlined and has no closures. It simply slips on to wear. Each cuff buttons with a single button and loop and the belt is original to the dress. I think the fabric has softened to touch as it has aged but it is still in beautiful condition
• Tagged a vintage YSL 36 but the loose and easy cut should fit a variety of sizes.
• Excellent condition

Sleeves: 26.5" and are 18" around the upper arm
Shoulders: approximately 15.5"
Bust: to 20" flat across from side seam to side seam
Waist-hips: open
Total length: 58" from top of shoulder to front hem, and the back extends another 4" beyond that.

Modern Sizing Equivalent: XS-MED

Item# DD5556

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# DD5505

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

Reference Photos: (1) Spring 1974 Madame Gres sketch from the Palais Galliera Collection.  /  (2-5) Annabelle Wallis in this set, 2024.

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 set dates to the late 1970s and it was made under the Creative Direction of Oscar de la Renta.
• These sets were easy to wear and ones like this one where made to cover a variety of occasions from casual entertaining to being used for less formal evening wear. It is a classic and easy feeling piece that still feels fresh and fabulous now. It is very rare to find the full set.
• In the late seventies and into the eighties this caftan/tunic and pant look was at an all time high and many of the top designers of the day designed options for their clients who wanted the look but still wanted to wear their favourite brand name. This one is a great example of that.
• Oscar was a master with cut and colour and this set has both.
• Both pieces are made out of a fine silk that has a secondary floral pattern woven through the silk. Onto that is a design done in a matching silk cording.
• The tunic completely unbuttons down the front so you can wear it layered over other pieces to act as an ultra light evening coat. It is perfect to be worn as a chic day or evening dress if you dare to wear it alone with the high front slit. And of course it perfectly pops over the matching pants for a chic evening pajama feel.
• The silk is feather light and this lets it flows around you when you move or the slightest breeze hits it.
• For added detail he used a matching coral cord embroidery to edge the neck and then run down the front. There is more cording at each cuff.
• The tunic has long sleeves that taper down to the wrist slightly. The shoulders have a very light padding for shape and then it falls from there over the body widening out gently as it nears the hem. When you are standing still it settles perfectly about you but when you move you really get the sense of movement because of the slit at the front.
• The pants have wide straight legs and an easy fit around the hip. The waist has a small band in the same silk.
  
• Unlined and the tunic buttons down the front and has decorative buttons at each cuff. Light padding in the shoulders. The easy cut should allow it to fit a range of sizes. The colour has a slightly more pastel feel in person. There is one mark on the pant that is up toward the hip, so completely hidden when the tunic is worn over it. Please see the photo after the label shot.
• The pants are tagged a vintage ODLR 8
• Excellent condition 
  

Tunic
Sleeves: 23" long and are 12.5" around the upper arm
Shoulders: 15"
Bust: to 18.5" flat across from side seam to side seam
Waist: to 17.5" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 50" from neck to hem
Slit: 29" from hem up

Pant
Waist: 15" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Pant: 41/5" from waist to hem
Inseam: 29.5" and the gusset is 15.5" from the back waist to inner seam

Modern Sizing Equivalent: SML-MED

Item# DD5389

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 1970s and this is one of those things that you will only ever find in vintage. It is a remarkable vintage piece.
• It was made under the creative direction of Roland Klein.
• One of Klien's greatest claimed to fame was that he was one of the handful of designers that worked with Princess Diana.
• The dress is made out of a bright metallic silver lame that has a touch of structure that allows it to hold both its shape and those amazing pleats that run over the entire dress.
• The front part of the bodice is done in a series of angled knife pleating. This is shaped to have the feeling and shape of a fan on each side from shoulder to waist. In between the two side sides it plunges all the way to the waist and a small panel of the silver fabric covers the seam where the two panels meet at the waist.
• Underneath the outer panels of fabric are simple triangle shaped inner halters that keep you covered and holds everything in place. Ties extend out from the top to tie behind the neck.
• With only the two triangles at the front of the dress the entire back is subsequently left completely open and bare.
• The waist has elastic all the way around so it is incredibly easy to fit and very comfortable to wear.
• Under that is the skirt and the skirt is equally as phenomenal as the top. It is knife pleated into sharp pleats that run from the waist to the hem. There is an incredible amount of fabric in the skirt and when you lay out flat, it is more than a full circle around. This allows the skirt to flare out as it reaches the hem and really balance out the bodice.
• The fabric is ultra light in weight and between that and the pleats this has fantastic movement once it is on the body and you are moving.
• The dress is unlined and slips on wear with an elastic waist. It ties behind the back of the neck. The easy fit should allow it to work on a range of sizes. I see one tiny pinhole in a pleat on the skirt. 
• Excellent condition 

Bust: each triangle under the fan covers to 7.5" flat across from side seam to side seam
Waist: 11-20" flat across from side seam to side seam
Hips: open
Bodice: approx 15" from neck to waist and adjustable with the tie
Total length: 60" from neck to hem and can be adjusted up or down an inch or two depending on how you tie it at the back of the neck.

Modern Sizing Equivalent: XS-LRG

Item# DD5371

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 Chloe collection.
• It was made under the creative direction of Karl Lagerfeld. 
• This is an incredibly rare and very well documented dress from one of the most creative and forward thinking collections that Karl did for the label. 
• In the book 'Chloe Catwalk', Vogue was quoted as saying "The clothes that Karl Lagerfeld designs for Chloe are the natural results of the world he creates, and if they sometimes seem to be from other times, it is because those other times have as much reality for him as rain and taxes have for the rest of us. You can love Karl Lagerfeld's clothes, you can hate them. See them once, and you can't forget them." The Japan Times called it "A trend setting collection". The Glasgow Herald said "Karl... takes the Edwardian Gibson Grill as his inspiration; hour glass shapes - curved bosom, tiny waists, swelling hips". 
• US vogue also commented that "Women collect Lagerfeld by the piece, not by the wardrobe"
  
• It is incredibly well documented and an extremely rare piece of Chloe, from an outstanding collection, and exemplary example of the history of the brand under Karl.
• The dress is made from a feather light silk chiffon in a deep ivory. In person, the ivory is a touch deeper than how it photoed here. Onto this are hand applied rows of lace and strings of faux pearls.
• The sleeves are long and they have added fabric built inside the shoulder area to help hold some volume ad the slight cap around the upper arm. They are full all the way down to the wrist where they explode outward with a cuff made out of four layers of the angle edged lace. Circling each wrist, and circling where the sleeve is set into the bodice, are a string of larger size pearls. Smaller size strings of pearls follow the lace that runs down and wraps around the full length of each sleeve.
• The neckline is high and like the cuffs, it is made out of multiple layers of the lace that are stacked on top of each other to create that dramatic ruff around the neck. It wraps over itself at the front and sweeps out to meet one shoulder.
• The bodice is cut to skim over the bust to the dropped waist. Multiple panels that mix the lace and strings of pearls are set diagonally over the bodice and around the back, highlighting the sweep of the collar above.
• The waist is dropped and seamed with a slightly more generous cut. It was not shown with a belt on the runway, but if you wanted to add shape, you certainly could belt it at the natural waist for a more defined silhouette.
• The skirt curves over the hips and it is a gathered all the way around the waist in a series of tiny pleats. These allow the skirt to open up underneath beautifully to help create that hourglass feel that was so prominent in this collection. Four more rows of the lace are set in the same angle all the way down the skirt but without the pearls. It is the perfect added detail and ties the whimsical feel of the entire dress together. A final layer of lace circles the bottom hem.
• At the back, the dress buttons to close with a series of large pearl buttons. These buttons are the largest pearls that we see on the dress and I love that he has used three sizes of pearls for this piece. These are the perfect finishing touch. 
• The dress is fully lined in an ivory silk. It closes with the buttons at the back. Hand finishes throughout with most of the inner seams finished completely by hand to couture standards. The lining through the upper body is starting to split in places. I see a couple of minor marks on the outer dress and some of the lace around the upper shoulders and neck line have darkened slightly. There are added panels around part of the inner lining where part of the inner lining was reinforced. Please see the photos after the label shot. These are all mentioned for accuracy but most of the flaws are inside the dress. Given the rarity and importance of this dress it is still considered to be in excellent overall condition.
• There is no size tag present so please go by the measurements below
• Excellent condition with the note above.

Sleeves: 24" to the ends of the lace at the cuffs and are 16" around the upper arm
Shoulders: 15"
Bust: to 17" flat across from side seam to side seam
Natural waist: 14" flat across from side seam to side seam
Seam at dropped waist: 14.5" flat across from side seam to side seam
Hips: to 26" flat across from side seam to side seam
Bodice: 18" from neck to dropped waist
Total length: 58" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD5335

Reference Photos: (1-4) Fall 1979 Chloe Preview.  /  (5) Fall 1979 Chloe Runway.  /  (6) From the book "Chloe: CATWALK".

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

Reference Photos: From the book "Chloe: The Complete Collections" by Lou Stoppard.

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 set is from a late 1970s YSL collection most likely 1979 or 1977
• It was made under the creative direction of Yves Saint Laurent.
  
• Both pieces are made out of a feather light silk in a very unusual muted turquoise that has a gorgeous muted quality to it. The photos are very close to the colour. It is perhaps a touch more pastel in person.
• The neckline of the top is set wide across so you can wear it off of the shoulder for a bare expanse of skin to show. A wide 6" ruffle follows the entire neckline and gives the prettiest flounce all the way around you. At the front the ruffle has been gathered so that it narrows in by a matching band of fabric that slips through an open loop along the seam. I love the added detail that this adds.
• Under that top ruffle there is a second ruffle sitting directly underneath it with stiffening added to its edge to add support. Set under that is another 5" wide ruffle that circles around each arm. These also have a little half ruffle with stiffened edging underneath for added support. The final effect is that of an gorgeous double ruffle set just under each shoulder and it is phenomenal.
• The top is cut wide and generous in a very boxy shape. This width through the body makes it easy to fit and it also is what gives it some volume once it is tucked into the skirt. 
• The skirt is a YSL masterpiece and a phenomenal example of the skirts that he was doing during this time period.
• The waist is banded and comes with a matching silk tie belt that you can cinch in the waist as much as needed. This tie is incredibly long and you can tie it in a bow wherever you wish. I love how it picks up on the bow of the top.
• Tiny gathered pleats are set in all the way around the waist and then the skirt falls under that into beautiful tiers. At the point just past the hips, the lower skirt is set into the top of the skirt with a ruffled seam that circles all the way around you. Built in behind that on the interior of the skirt is a wide band of stiffening that helps to hold the shape and volume. At the hem there is a panel of the same silk that has been tightly gathered into a wide ruffle. All of this perfectly ties in with the ruffles around the shoulder of the top. 
• The skirt is incredibly full but still light in feel because of the lightness of the fabric. If you were to lay this out and open the skirt out, it is more than a full circle around. That volume combined with the lightness of the fabric gives you incredible movement when you move.
  
• This is an absolutely stunning example of his work during this time period and one of my favourite pieces I have ever had by him.
• It is exceptionally rare to find a full set in such a iconic YSL design and in this condition.
• Both pieces are unlined. The top slips over the head to wear and the skirt zips to close with a side set zipper and two flat hook and eye at the waist. The tie belt is original to the dress.
• Both pieces are tagged a vintage YSL 40.
• Excellent condition

Top
The arm opening is 14.5" around
Shoulders: the opening is 32.5" around
Bust-bottom seam: to 20" flat across from side seam to side seam
Total length: 19.5" from top of bodice to hem

Skirt
Waist: 13.5" flat across from side seam to side seam
Hips: open
Total length: 43.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD5293

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 my client sold this to me I told me it was from 1978. We have not yet sourced a runway photo of it because these early collections were not always documented but if we do at some point we will forward that on to its new owner.
• It was made under the creative direction of Pierre Cardin.
• The dress would have been made completely by hand in the Paris atelier. 
  
• The dress is made out of a very high-quality black silk chiffon that is feather light in weight. It gives the dress phenomenal movement around you once on the body.
• This is a fantastic and surprisingly avant garde Haute Couture dress by Pierre Cardin that shows the breadth and depth of his talent. From a historical perspective it is also an interesting insight on the volume and play on proportion being done during this time period.
• The design is simple and has a minimalist feel but is still striking and dramatic. It is really a piece that will only truly come to life once on so is a bit of what I like to call a 'trust me' dress because you have to trust a bit on how phenomenal it will be.
• The neckline is squared off right to the outer edges of the shoulder on both the back in the front. The back dips down a little bit lower for more skin to show. I think that you might be able to also wear this fully off the shoulders if you wished.
• Inside there is a little strapless soft cupped bra made out of lingerie nude netting. 
• The silk falls from the shoulders and skims over the inner bra, flows generously past the waist and hips and then it widens out a touch more as it nears the floor.
• Under the top layer of black silk chiffon there is a layer of a dark brown silk chiffon. This keeps the dress from being too transparent and at the same time it creates the illusion that the dress has more transparency than it actually does as the two colours play against each other. 
  
• The sleeves are phenomenal. They are cut on a curve and are gathered into a piped wrist finished with a little bow, made of the same piping. Once on they pouf and balloon out fantastically above your wrists. They are one of the most exaggerated balloon sleeves that I have ever actually seen on a dress but in the best possible way. On my dress form they appear to hang very long and low but once on and held in place by your wrists they sit properly and billow out around the arm. They are quite brilliant.
• It is an incredible dress and like many of his pieces it truly will only come to life once there is a body in it.
• It is remarkable piece of true couture and a true piece of fashion history.
• The dress is fully lined with a layer of dark brown silk chiffon. It slips on to wear and the inner bra hooks to close. You could adjust the fit a bit by replacing that inner bra with one fitted to you and I have included the measurements of the outer dress for you as well as the inner bra.
• The dress has no size tag since it is couture so please go by the measurements below.
• Excellent condition

Sleeves: 24" to the actual wrist and then the sleeve extends another 10" past that when hanging loose. They are 17" around the upper arm.
Inner bra: tagged 34-35B and is 15-17" flat across from side seam to side seam, the outer dress is to 17.5" flat across from side seam to side seam
Waist: to 16" flat across from side seam to side seam
Hips: to 19-20" flat across from side seam to side seam
Total length: 58" from top of shoulder to hem

Modern Sizing Equivalent: XS-MED

Item# DD5225

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 is from 1977 and was most likely a made to order custom or bridal piece.
• It was made under the creative direction of Roy Halston
  
• When researching we found the examples shared here that are almost identical to this dress but without the extra added panels that create the spiralling ruffles.
• This is a beautiful ivory dress that showcases the minimal seaming that Halston was so famous for.
• The dress is made of a heavier weighted silk charmeuse that is cut like the reference photos show through the body but with added panels and seams that go around and cascade down the lower skirting.
• It is completely cut on the bias so it drapes phenomenally over the body. You simply slip it over your head and it drapes over you to accommodate the body underneath. This makes it easy to fit and very easy to wear.
• The sleeves are long and extend out directly from the body of the dress with no seaming around the arm. Each narrows to its cuff where there is a handmade silk covered button and loop.
• The neckline is cut wide across the neckline and has a subtle draping at the centre of the neck at both the front and back of the dress. It is a very pretty detail.
• It glides over the body skimming over the bust, waist and hips to the floor. The vertical ruffles are set on an angle so that they cascade down to the hem. When you move these swirl around the lower part of the dress and create gorgeous movement around you.
• Working with this fabric is incredibly difficult and it is a testament to his skill to create such a seemingly simple but complex pattern.
• The dress is fully lined in a second layer of the same fabric which adds to the technically difficultly of the pattern and rich feel of the silk. It has no closures and slips on to wear. Each cuff has a silk covered button and loop to close.
• There is no size tag and the bias cut will allow it to have it some give. Please go by the range of measurements listed below. The colour is slightly more ivory in person. I see some minor marks and scuffing here and there on the silk of the bottom ruffles. I shot one so that you can see. It is very minor but mentioned for accuracy. The length may come up once on because of the bias cut.
• Excellent condition.

Sleeves: approx 23.5" and are 16" around the upper arm
Shoulders: no defined seam
Bust: 18-22" flat across from side seam to side seam
Waist: 15-21" flat across from side seam to side seam
Hips: 19-25" flat across from side seam to side seam
Total length: approx 62" from top of shoulder to hem. 

Modern Sizing Equivalent: MED-LRG

Item# DD5201

Reference Photos: (1) Spring 1977 Halston.  /  (2) Fall 1977 Halston.  /  (3) From the book "Halston: An American Original"

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.

• The dress is from the Spring 1972 season as noted on its Haute Couture tag we were lucky enough to find photos from the collection and you can see how beautiful it is once on.
• It was made under the creative direction of Marc Bohan for Christian Dior. 
• There is very little documentation on this particular collection, but 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".
• With such little documentation of the collection it makes a piece like this that is documented even more special and rare.
• This would have been made completely by hand in the Paris atelier.
• The dress is made out of a beautiful stiffened or starched blue silk gazaar that is woven on the bias so that the dress has a more sculptural structure and shape while still staying very light in weight. The colour is a deep blue.
• It is cut to sit fully off the shoulders though I think you could also wear it on the top edge of the shoulders if you wished.
• Each sleeve is cut to just above the elbow and has a beautiful ruffle all the way around.
• It skims over the bust and curve in a touch at the waist. Inside there is a full boned inner corset that goes to the top of the hips. This holds the dress perfectly in place around you once it is on.
• From there it skims over the hips and then flares out beautifully to the hem. The entire hem is finished with a wide ruffle that picks up on the detailing of the sleeves.
• What makes this dress especially interesting is the way that it is almost sculpted because of the fabric treatment. As good as it looks in the photos it is even more beautiful in person.
• The dress is lined in a grey-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 exterior dress zips to close over that at the side. All of the work is done by hand to Haute Couture standards.
• There is no size tag present so please go by the measurements listed below.
• Excellent condition

Sleeves: 9.5" and they are 11" around the upper arm
Inner bust: 16" flat across from side seam to side seam
Inner waist: 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# DD5132

Reference Photos: Spring 1972 Christian Dior Haute Couture. (Second photo by Frédéric Scheibe)

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 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.

• George Stavropoulos was known for his evening wear and his signature looks often involved draping and the use of silk done on a bias cut. He focused on cut and fabric to convey the beauty of each piece. It was said that his gowns 'seemed to float on air'.
• He launched his label in 1960 and soon was dressing women like Elizabeth Taylor, Jackie Kennedy, Barbra Streisand and Maria Callas. The majority of his gowns are almost entirely made by hand and to couture standards. 
• The dress is made out of a feather light black silk that has tiny little red lines that highlight the cut and line of the dress. 
• The neckline is cut straight across and the dress is suspended from tiny straps that curve up and over the shoulders. 
• The bodice is more fitted and the waist nips in. 
• From there the skirt falls in this extravagant swoosh of bias cut silk to the floor. It skims over the hips and then widens out substantially by the hem.
• The striping is set on angles over the dress and helps to add shape. I love the unexpected red lining through the skirt that picks up on that red stripe. When you sit or move you get these little flashes of it that is fantastic. 
• There is a slight elastic around the top of the dress and I think you could wear this as a strapless piece and just tuck the little straps in if you wished.
• Fully lined in a red silk and it closes with a side set zipper. 
• Excellent condition and appears unworn.

Bust: 16-16.5" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Hips: open
Bodice: 15" from the top of the shoulder to the waist
Total length: 60" from top of shoulder to hem, with the inner lining extending slightly past the hem

Modern Sizing Equivalent: XS-SML

Item# DD5089

Reference Photo: Fall 1978 Stavropoulos Runway.

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

• This exceptional dress is by Marc Bohan for Christian Dior and it is a wonderful example of his work during this time period.
• This best matches the work that he was doing from about 1969 to 1972 when he was doing these wonderful dresses. We found a similar one to this with variations on the print that this dress has and I have included it so that you can see how perfectly this will drape and fall on the body.
• It is a very easy and comfortable dress to wear
• The dress is made from a cotton that has a pretty floral print that covers the entire dress.
• The neckline is set high and detailed with a black cotton collar that extends down the front and buttons to about the waist area.
• Under that the bodice is meant to skim over you to fall loose and easy over the natural waist and then the skirt billows out from under that to the floor.
• The sleeves are set into the shoulder with slight gathers and they have a more full cut that balloons out over the wrists. At their ends they are edged with that same black fabric that sits around the collar and this extends out and tie into pretty bows around the wrist. 
• The dress comes with its matching tie belt in the same fabric so you can wear it loose and easy or cinch in the waist for shape.
• Once on the body the entire dress has this stunning movement and yet feels minimalist and elegant.
  
• Unlined and slips over the head to wear. The front buttons up to about the waist and each sleeve ties with attached ties. The belt is original to the dress.
• Tagged a vintage Dior 12 and the easy cut should allow it to fit a range of sizes.
• Excellent condition

Sleeves: 25" and are 13" around the upper arm
Slightly inset shoulders: 14.5"
Bust: to 20" flat across from side seam to side seam
Waist: to 17" flat across from side seam to side seam and then you use the tie belt to cinch it in as much as you need
Hips: to 23" flat across from side seam to side seam
Total length: 61" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# DD5057

Reference Photos: (1) Model in Dior for British Vogue, March 1969.  /  (2) Model Kellie Wilson in gypsy-style Dior, wearing a long chiffon dress in lilac with white batik print, a ribbon belt and massive gold pendant Vogue October 01, 1969. Photo by Bert Stern.

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

This dress was designed by Belgian-born Jules-Francois Crahay, who headed the Lanvin ateliers from 1964-1984. He has been noted as one of fashion’s 'great colorists with his colorful patterns making his 1970s Lanvin designs hugel​y ​desirable and influential.' His time at the Lanvin label is one of my personal favourites for the house. I especially love the his work during the period through the late sixties and into the early 1970s. He was a genius at print and colour and he pushed the envelope in terms of using cutting edge fabrics available during this time period. He mainly used this type of fabric for his 1971-1972 collections. This is the second time I have had a version of this dress and I love it even more this time.

This Lanvin dress is gorgeous and is from the main label. I am in absolute love with it. The dress has a gorgeous colour and print combination. It is made from mixing two fabrics and both hold colour exceptionally well so the colours are still crisp bright and true. The top portion of the dress is an easy silk jersey and then the skirt is one of his signature waffle weave cottons. The sleeves are long and simple. The neckline is scooped with a slightly wide cut. The top skims over you and the back goes down in a scoop to leave a bare expanse of skin showing. The waist is seamed and I love how the skirt is set into the waist in soft gathers so that it puffs out slightly around the waist. It also has a bit of a wrap effect where one side is open down the full length, but it is fully wrapped underneath so that you are completely covered. 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. The pattern is the same on both fabrics and yet they look slightly different because of the change in texture. It is brilliant. This full on pattern from head to toe makes the dress instantly recognizable as a piece of his work. Excellent condition with a note below.

The bodice is unlined and the skirt is fully lined in a white silky rayon. It closes with a back zipper. I see what looks like remnants of a lining here and there along the seams of the top. I see a mark at the front. Please see the photo after the label shot. Hand finishes. The fabric of the top has some stretch. 

Sleeves: 25" and are up to 11" around the upper arm
Inset shoulders: to 14"
Bust: 16-17" flat across from side seam to side seam
Natural waist: 12-14" flat across from side seam to side seam
Seam at top of hip: 13"
Hips: to 22" flat across from side seam to side seam
Bodice: 19" from top of shoulder to seam at the top of the hip
Total length: 57" from top of shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD4941

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

In 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 dress is a gorgeous example from the time period. I love it. 

The dress is a fantastical confection of dotted silk organza tiers that run from the top of the dress to the hem. The bodice is suspended from the shoulder with straps made of the same silk. Each strap curves over the shoulder and then the first ruffle of silk starts from around the top edge of the top. The neckline is cut fairly straight across on both the front and back. The ruffles continue down the entire length of the dress and each one gets wider than the one above it. There are eight ruffles in total and it is just spectacular. The movement that the ruffles create as you move is fantastic. The dress underneath is made from the same dotted fabric and it also follows that widening line of the dress all the way to the hem. The skirt falls to the floor in a dramatic sweep that widens out as it near the floor. This cut is incredibly easy to wear and flattering. I love how the silk ruffles move around you beautifully with the slightest movement. There is a little silk flower attached at the base of one strap that gives the dress a little extra pop of colour for the perfect finishing touch. Tons of hand finishing throughout. It is truly magical. Excellent condition with a minor note below.

Fully lined in a red silk and closes with a back set zipper and then each tier has tiny snaps to close each of the ruffles over the zipper to hide it. Tagged a vintage Givenchy 8. I see one tiny hole near the hem of one ruffle near the bottom. It otherwise appears to have been worn very little if at all. Hand finishes throughout. 

Bust: to 17" flat across from side seam to side seam
Inner seam under the bust: 15.5" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Inner hips: to 17.5" flat across from side seam to side seam
Total length: 58" from top of shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD4935

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.

Loris Azzaro launched his label in 1967 and quickly defined his trademark looks by using ornate fabrics and avant garde ways of defining the body. Some of the most beautiful women in the world wore his clothing including Marisa Berenson, Raquel Welch, Jane Birkin, Sophia Loren, Brigitte Bardot and Tina Turner. It was a label that defined sexiness and had a certain French flare that women world-wide loved. By the seventies and eighties he was experimenting with volume and proportions and new fabrics that at the time were all cutting edge. This is a stunning example of his work from the mid- to later part of the 1970s and is fantastically beautiful. No matter how good it looks on my dress form, in person and on the body it transforms into even more of a bombshell. It is spectacular. To give you an idea of the way the paper bodice fits I have included a photo of French singer Dalida and one if Raquel Welch both wear dresses similar to the bodice of this one. I think this one with its fantastical net tulle skirt is even more special 

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

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

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

Modern Sizing Equivalent: SML-MED

Item#DD4486

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

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

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

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

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

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

Modern Sizing Equivalent: XS-MED

Item# DD4483

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

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

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 set is from the early to mid-seventies and it is fabulous.

This is an amazing vintage 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 and the contrast between the two fabrics is fantastic. 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 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. Excellent condition with a small note below.

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's a small repair to the jersey inside the inner structure of the band and then one of the fold along one side. Neither is seen once on. The top ties to close at the back.

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
Band: 3.5" high on the boned hook closure side and the other side will widen 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: XXS-XS

Item# DD4182

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.