This is from the famous Russian collection from the Fall 1976 Collection and these are rare and hard to find. The now legendary 'Opéra Les Ballets Russes' Haute Couture collection by Yves Saint Laurent for that season was one that took the fashion world by storm and has been endlessly re-interpreted since. Stylist Catherine Baba has the twin of this coat and versions have been well documented. The Met has a fabric version in their collection and the suede version was photoed for Vogue that season. This was a key look of the season and highly collectible. 

The coat is in exceptional condition and looks to have been worn very little if at all. The leather is soft supple and the color is a deep chocolate. The inner bodice has been lined in a sheared sheepskin that is very soft and fine and has been dyed to a deep chocolate color to match the leather. The sheared sheepskin is set to follow the front edges and goes all the way around the neck and down the front. There is also a a band of it set within each cuff. The lines of the coat are pure Yves from this time period. The neckline is cut high on the front to curve gracefully around the neck. The shoulders are set high with gathers so that they have a slight capped feel to them. Under the top portion of the coat the lower portion of the jacket is set into the waist seam and done like a proper skirt would be with slight gathers along the top so that it has some fullness. Inside the coat the upper bodice is lined with the sheared fur and the lower part of the skirt is lined in a quilted fabric.  I love how all the edges are top stitched with a deep red thread, placed to emphasize the lines of the coat and add to its Russian feel. This wide panel of red top stitching runs all the way down the front, around the collar and finishes each cuff. Highly polished buttons close the coat down the front. It really transforms when on a real girl and is just wonderful. Amazing and rare piece of fashion history. Excellent condition.

The upper bodice and cuffs are lined in fur and the sleeves and skirting of the coat are lined in quilting. It closes with the buttons at the front. Tagged a vintage YSL 44

Sleeves: 24"
Shoulders: 16"
Bust: 19.5" flat across from side seam to side seam
Waist: 18" flat across from side seam to side seam
Hips: open
Length: 47" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# C404

Reference Photos: (1) The Peasant Collection 1976 as photographed by American Vogue  /  (2) Coat from the MET  /  (3) Yves Saint Laurent Runway.  /  (4) Catherine Baba at the S/S 2017 Haute Couture Shows in Paris. (Top Photo by Nabile Quenum; Bottom Photo by Phil Oh)

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

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

A version of this coat walked the runway for the Fall 1982 Haute Couture show and the cloth version was photoed for Vogue Italia that season. Most importantly, a photo of Catherine Deneuve was taken in a version of the coat allowing us to see just how wearable the coat is despite its avant grade and bold lines. The dramatic and huge sleeve detailing was an important element for that season. This is a rare and collectible piece. 

A version of this piece walked the Haute Couture runway that season and that combined with the other documentation on it are able to give you an idea of how spectacular the coat is in person. It is made out of a soft, supple leather that has been dyed to a deep brown. The bodice of the coat is meant to follow the lines of the body and then curve down into a slightly dropped waist seam. He has treated the lower portion of the coat like a true skirt and it is set into the seam of the waist in soft gathers. This helps to give it the fullness that you see in the photos. Pockets sit on each side of the hip. The collar is high and neat. It sits above a dramatic double row of polished hand carved wood buttons. They are large and sit in a double row of six buttons that down the front to just past the waist seam. These same buttons are then used on each sleeve. The sleeves are incredible and at the time were probably startling to see on the runway with their excessive fullness. They still feel dramatic even now. Each is cut on a rounded curve that starts at the shoulder and curves down the arm to the cuff. They are very full and wide. Six of the polished and hand carved wood buttons are hand set down the extended cuff whose overlapped edging goes right up to the elbow. Those sleeve and how they are cut are really a testament to his genius. Each button is fully functional which shows you just how much care and detail was put into the piece. Despite it being leather, the coat has been made with the same care as if it was fabric, which would have been a very innovative approach to leather for this time period. It is absolutely stunning and very rare. Excellent condition with a small note below.

Fully lined and closes at the front with the buttons as seen. All the buttons, including the ones on each sleeve are functional. Pockets on each hip. There is some minor discolouration on the inner lining. The fabric used for it tends to change colour over time so it is a natural progression of aging. One small and minor scuff to the leather next to the collar on the upper shoulder. Please see the photo after the label shot 

Sleeves: 27"
Slightly inset shoulders: 14"
Bust: 18" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: open
Length: 47" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# C402

Reference Photos: (1) Runway show photo Yves Saint Laurent F/W 1982 collection.  /  (2) F/W 1982 Yves Saint Laurent Runway in the book "Yves Saint Laurent Haute Couture Catwalk".  /  (3) Outfits by Yves Saint Laurent, Vogue Italia, September 1981.  /  (4) Catherine Deneuve

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

John Anthony opened his label in 1971 and during the 1970s he became known for making pieces that were sleek & sexy but still felt sophisticated. His business was all done on a made to order basis. That means the majority of pieces you will find are a one-off, or if there are similar pieces, very few of each piece exist. This personal attention to each dress is clearly seen in the workmanship of his pieces. His work is a personal favourite of mine and this dress is extraordinary.

This dress is exceptional and a wonderful example of his work during this time period. It is made from a black silk jersey that allows it to drape beautifully on the body. The dress is cut to drapes and skim over the body and it does show every curve but without it being tight and fitted. Once on, this gives it a certain sexiness despite the fact that the dress completely covers you. The sleeves are long and widen out as the near the cuffs to create a poufed effect over each buttoned cuff. The dress skims over the body and fall to the floor in a beautiful drape of inky black silk jersey. A hand beaded silver bird seems to have been captured in mid-flight as it swoops around the scooped neck. A second bird arches down the hip and appears to hold in its beak the gathered panel of fabric that is set on that one hip. This panel give the dress a bit of a forties feel that I love. It also hides a high cut slit that reveals almost your entire your leg when you walk or sit. It is incredible and made to demi-couture standards. Excellent condition

Unlined and closes with a back, hand set zipper. Each cuff buttons to close. The birds are hand beaded onto the dress. Appears to have been worn very little if at all. Hand finished. The fabric does have stretch so it should fit a range of sizes. The measurements below give you the comfortable range the fabric has when lying flat.

Sleeves: 26"
Slightly inset shoulders: 13"
Bust: 15-19" flat across from side seam to side seam
Waist: 14-17" flat across from side seam to side seam
Hips: 17-20" flat across from side seam to side seam
Length: 58.5" from neck to hem
Slit: 32" from hem to top of slit

Modern Sizing Equivalent: XS-MED

Item# DD2973

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

This is a fantastic and romantic gown by Alfred Bosand who was really one of the great American designers whose clothes where made to couture levels with lots of hand finishes and detailing to them. Bosand started his career after World War II by attending the Fashion Academy, New York City. He then worked with several designers before launching his own label. By the time he returned in 1986 he was one of New York's last privately owned couture designers with his own label. His work is of very high quality.

I love how the dress is beaded from the top of the straps to the hem. The base fabric is made from a beautiful black silk net that has a layer of silk chiffon backing it. Under this is a built in inner dress made out of a black silk satin backed crepe so that the dress is not transparent. The dress is suspended from the shoulder from two tiny straps. It is seamed just under the bust and the top edge has a bit of a scalloped effect by the lace net being allowed to peak up and over the seam there. The skirt cascades from the high set waist to the floor in a delicious sweep of fabric. As it nears the floor it widens out which gives the change of design there the perfect backdrop and space to really pop. The entire dress has been covered in beading, sequins and embroidery. The top part of the dress has little rows of gold tube beads that are each set on a slight curve and broken up with scatterings of gold sequins. These are all hand set and by laying them out in this more organic feel they are more visually interesting then to have just done straight vertical rows. The entire lower hem is covered in flowers. This takes up about 24" of the bottom of the dress and in person they have far more impact then on it looks in the photos and on the dress form. The colours used are a soft turquoise mixed with a deep pink and pops of gold. The design is made up of a combination of embroidery, tube and seed beads and gold metallic thread. I love that the bottom hem is scalloped all around the edge. It is very beautiful and even better in person. Excellent condition.

Fully lined in a black silk satin backed crepe and closes with a back set zipper. It looks to have been worn very little if at all 

Bust: to 19" flat across from side seam to side seam
Seam under bust: 17" flat across from side seam to side seam
Natural waist - hips: open
Bodice: 14" from top of bodice to seam under the bust 
Skirt: 45.5" from waist to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3549

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

I love finding Donald Brooks pieces, especially his main line label that he launched in 1964. He only designed for a very short time, closing his business in 1973. He had a secondary, boutique line that he started in 1971 that also closed in 1973. This dress is from his mainline and was most likely made during that 1971-1973 time frame. I did find a reference photo of the dress but it was dated as being 1978 which is not possible so we have the photo but not the exact date. 

Brooks pieces have a certain ease about them. This is partly due to his fabric choices and also in part because of his cutting and draping techniques. This dress is made from an easy to wear black jersey that has been finished with a scattering of rhinestones across its surface. I love this combination of the glittering crystals with the ease and simplicity of the fabric. The faceted glass crystals are hand placed on prong settings across the entire surface of the dress. It's an ingenious way to make for a very glamorous dress without taking away from the simplicity of the jersey. The stones are spaced out over the entire surface so that they catch the light from every angle. The dress is cut to skim over the bust, nip in with a seam at the waist and then the sleeves are left long and are cut to be full above the cuffs. A matching tie belt can be used to cinch the waist in for more shape. The neckline is cut wide for a touch of collar bone to show and both the back and front are scooped. The skirt falls to the floor and there are yards of fabric used in it so it has great movement once it is on. It is a striking dress and looks to have been worn very little if at all. Excellent condition.

Unlined and closes with a metal and nylon zipper at the back. A hidden set hook & eye at each cuff. Matching fabric tie at the waist. The fabric has some stretch overall but the waist measurement is fixed with the seam.

Sleeves: 25" approx.
Shoulders: no defined seam
Bust: 17-18.5" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: open
Bodice: 15" from natural neck to waist
Skirt: 42" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2926

Reference Photo: Donald Brooks Dress, date unknown

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 twin of this set walked the runway for the Fall 1977 Christian Dior Haute Couture collection. It was also used in a Vogue editorial and photoed by Roland Bianchini that season. In the 'Dior Catwalk' book, journalist Alexander Fury references this suit specifically in his write up for that season saying; "The designers autumn/winter collections proposed a series of equally glamorous ensembles, including the 'white silk jacquard pants suit with the white fox, white pearls and bareness underneath - a soft white camisole' that Vogue predicted would be the 'sure fire' bestseller that season. Trouser suit aficionado Bianca Jagger was in the audience and 'said she loved everything''. It is exceptional and a wonderful example of the work that Marc Bohan was doing for the house during this time period.

The set is made from a beautiful ivory colored silk that has a secondary pattern woven through it. That pattern is made up of little abstract shapes and I love that every once in a while one of the shapes in that design look like a little heart. The pants are cut with a straight leg so that they have a soft flow to them. Pockets lie along the seams on each hip. The jacket is a simple, almost box cut that ends just at the hip to perfectly balance the line of the pants. It can be worn open like it was shown on the runway or fully closed. I love the clear lucite buttons with their little silver capped tops that run down the front. They are the only embellishment on the piece and give it a subtle bit of glitz. On the front of the jacket there are three top set pockets for detailing. Each sleeve buttons to close and on the runway these were left open and flipped back for an easy feel. This is a true piece of fashion history and an amazing example of Bohan's work during this time period. It is even better in person. All proper Haute Couture labels present. Excellent condition with some small notes to review below.

Both pieces are fully lined. The jacket in a rich cream silk satin and the pants are lined in a slightly lighter version of the same silk. The set is entirely made by hand. The jacket buttons to close and pants close with a front painted metal zipper and hook & eye at the waist. Pockets on the jacket and pants. The pants have a slight line of a yellow mark at the lower front right leg near the hem. The jacket shows slight discoloration under the arms on the inside lining that does not go through. There is the very slightest darkening to the edge of the collar. All minor and it presents as excellent. Please see the photos provided after the label shot

Jacket
Sleeves: 21"
Shoulders: 15"
Bust: 18.5" flat across from side seam to side seam
Waist: 18" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 23.5" from neck to hem

Pants
Waist: 13" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 41" from waist to hem with 2.25" turned under the hems
Inseam: 30.5"

Modern Sizing Equivalent: SML-MED

Reference Photos: (1) Christian Dior A/W Haute Couture 1977 Runway Show.  /  (2)  Christian Dior A/W Haute Couture 1977 Runway Show from the book "Dior Catwalk: The Complete Collections".  /  (3) Photo by Albert Watson, Vogue, October 1977.  /  (4) Photo by Roland Bianchini, Dior, 1977.

Item# DD2793

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

In 2015 Curator and Fashion Historian, Laura McLaws Helms contacted me about the upcoming exhibit at the Fashion and Textile Museum in London on Thea Porter's work that she had planned. She ended up borrowing a dozen Thea Porter pieces from me for use in the exhibit and for the accompanying book 'Thea Porter: Bohemian Chic'. A close up of the fabric from this dress appears on p.84 of the book to illustrate the collaborative efforts between Thea Porter and textile designer, Hannah Meckler. The pattern on this dress is the 'Wave' design and in the book this is clarified as being done by hand and "painted onto meters of silk chiffon that were made into evening dresses and Abayas". This dress has the added provenance of being the same print and fabric of a Thea Porter owned and worn by style icon, Kate Moss

This is a wonderful Thea Porter dress that has a bare back and halter neckline. This more fitted shape is a bit unusual for her but that is part of what I love about it. It shows the range that Thea had while still staying within her wheelhouse of that bohemian feel. Thea's pieces often created sensuality by combining full coverage and flowing fabrics, so to see a dress that has far more 'bareness' to it is a bit of an anomaly for her and really showcases how multi-faceted she was. The hand painted Hannah Meckler wave design that covers the silk is appropriately named for its beautiful blue tones that are reminiscent of the ocean. The pattern has been set to highlight the lines of the dress which would have required much pre-planning and a disregard for the extra fabric needed to achieve this. The skirt is made from many yards of the silk and is set on a bias cut so that the movement it has is incredible. The fabric choice gives the dress an airy, floating feel. The bodice is fitted and cut with a high halter neckline that curves up and around the neck to tie at the back. There is a second layer of silk there that ties over the inner strap and trails down the back. The back is left completely open with a wide expanse of bare skin showing. Curved pleats, done by hand, angle up to the silk chiffon rosette details the neckline. It is very beautiful. A wonderful example of Thea Porter's work and her collaborative efforts with textile designers of the time period. Excellent condition with minor notes to review below

Fully lined in pale blue tissue silk. It closes with a low, hand set, back painted metal zipper. The halter closes at the back with hook and there is a panel of silk chiffon that ties into place over that. Light boning on either side of the bodice. All hand work. There is a slight discoloration to the lining near the top edge, the waist and inner skirt. Tagged a vintage UK 10. Note that it was too small for my mannequin and it does of course zipper and close properly.

Bust: approx 16" flat across from side seam to side seam but there is some play here as the back is open
Waist: 12.5" flat across from side seam to side seam
Hips: open
Bodice: approx 13" from neck to slight empire waist
Skirt: 45" from slight empire waist to hem

Modern Sizing equivalent: XS-SML

Item# DD1108

Photo Credit: (1) From the Book Thea Porter; Bohemian Chic, p.84.  /  (2) Kate Moss in a dress with the same print

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 Rive gauche label was often derived from the couture pieces of the previous season and with this dress exemplifies that progression. A dress with a similar hemline treatment was shown in the 1979 Haute Couture collection. That couture look was then translated into silk taffeta gowns for the Rive Gauche spring collection of 1980. The twin of this dress was photoed in March 1980 backstage at YSL.  This is actually the second dress like this that one I have had in the shop and I am very pleased to have found another. This one is not perfect but its flaws are in a spot that still makes it very wearable and its a very good price as a result. 

The dress combines two of his signature fabrics, silk taffeta and velvet. He used these fabrics extensively during these years as they gave him the structure and volume he needed to pull off his designs while keeping the dresses to a reasonable weight. On this one, the silk he chose is a deep, rich magenta. The silk has an iridescent quality to it that catches the light and gives the silk different hues and tones. This is combined with a inky black velvet that he uses for the bodice. The top portion of the dress is cut to be more fitted and it has a ruffled collar in the same silk as the skirt. At the end of each sleeve is a ruffled finish that is also done in the silk. A wide, attached silk sash wraps and ties around the waist to cinch it in and add shape. The velvet extends down to the top of the hips and then the skirt falls from there. It is set high up on one side and then curves down and around the back. On the side that it is set high up on the hip the hem is cut to also follow that line making it shorter at the front and then falling long at the back. It is exceptionally full and the fabric choice keeps it light in feel while still giving it volume. I love the wide ruffle that circles the hem giving it an extra flounce and added movement. There is an incredible amount of fabric in the skirt. It is truly remarkable. Excellent overall condition with a note to review below 

Fully lined through the bodice and unlined through the skirt and sleeves. It closes with a side painted metal and nylon zipper. There are areas of thinning on the back ruffle of the hem. The volume of fabric makes these pretty much lost on the folds. Please see the photos after the label shot.  Tagged a vintage YSL 38

Sleeves: 25.5"
Slightly inset shoulders: 13.5"
Bust: 16.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Length: 51" from shoulder to shortest spot on the front hem, 61" to the longest part of the back hem

Modern Sizing Equivalent: XS-SML

Item# DD2854

Reference Photos: (1) 1979 Haute Couture Yves Saint Laurent  /  (2) Sayoko, wearing Yves Saint Laurent, in Paris, March 1980. Photo by Roxanne Lowit. 

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

This dress that has a lot of impact and its feathered cuffs give it a shot of high glamour. It is made out of a black stretch jersey that has just a bit of give to it for maximum comfort when it is on. Each sleeve has a wide cuff made out of glossy black feathers. This simple addition to the cuffs is what  really ups the dramatic feel of the dress. The waist is defined by a high band inset of the same fabric. The front plunges to this band in a deep V. At the back there are two ties, one is set at the low back and the other ties just behind the neck. In between is a curved, round cut out that leaves the back completely bare. The sleeves are long and lean sand then end with that fabulous burst of feathers. The skirt falls to the floor from under the band at the bust, skims over the hips and then flares out as it nears the hem. Love the play of the bare skin of the bodice with the high drama of the feathers. Excellent condition

Unlined and closes at the low back with a metal & nylon zipper and snaps at each cuff.

Sleeves: 25"
Shoulders: 14"
Bust: 16-18" flat across from side seam to side seam, 13.5"-15" at the under-bust seam
Waist at second seam under the bust: 13-14" flat across from side seam to side seam
Hips: 17-19" flat across from side seam to side seam
Bodice: 110" from shoulder to first seam under the bust, 12" to the second
Skirt: 44" from second seam under the bust to hem

Modern Sizing Equivalent: XS-SML

Item# E668

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

Dorian was a lingerie company so this was probably originally intended to be used as a hostess piece or as a robe worn over over an inner piece. For a modern girl it makes for an amazing wrap dress and you could also wear it layered over something else. The dress, or coat, depending on how you decide to wear it, is made out a black stretch jersey whose neckline is edged in a wide and dramatic panel of glossy black feathers. It is very reminiscent of pieces that you would have seen being produced for the Old Hollywood era of the twenties and thirties. It draws heavily on that silhouette but without feeling like a copy with the use of the modern jersey for the fabric choice. The sleeves are cut long and wide and they each flare dramatically with each is a full 27" around by the time they reach the ends. The body of the dress wraps and ties to close. This makes it so easy to wear and comfortable too. The feather panel is wide and curves around the neck and down the front to the waist. It is cut so very simply but yet is so very dramatic once on an actual body. Excellent condition.

Unlined and wraps and ties to close. It appears to have been worn very little if at all. The jersey does have some stretch and the tie makes it very adjustable for sizing. The easy cut should allow it to fit a range of sizes

Sleeves: 22"
Shoulders: 15.5"
Bust: to 18" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam but adjustable with the ties up or down several inches
Hips: open
Bodice: 13" from neck to waist
Skirt: 42" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3542

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

James Galanos typifies that true American glamour. His work combines a chic sophistication with bold design and fabric choices. He was particularly known for his amazing evening wear. His work was executed to the highest standards and the workmanship is on par with couture. He is often called one of the great American couturiers and that title is well deserved in terms of construction and quality found in his pieces. He was a master at working with silk chiffon and his technique of layering the skirts with multiple panels of silk is a signature.

I love this dress. The color combination is very unusual and the silk chosen for the layers that make it up are of the highest quality. The dress is made out of several layers of silk chiffon. The inner pink dress is made out of four full layers that are stacked perfectly on top of each other. For the skirt each layer is attached at the side seam and waist which leaves the hem free and gives the dress movement when you move. The top portion is also made out of layers of the silk and here is it finished with inner elastic through the waist and all around the upper seam of the neckline. This makes the dress very easy to wear and comfortable. It simply slips on and falls perfectly in place over the body. Over the skirt is a panel of green that is set on both the front and the back of the skirt. This is attached around the waist with the side left open down the length of each side so that the pink of the skirt underneath shows. It has its original matching fabric tie belt that you can use to cinch the waist for added shape or use around the neck or even as a head wrap. The choice of these unexpected colors work surprisingly well with each other and it is made to the Galanos couture equivalent standards. The dress form does not do the dress justice as to how it works on an actual body. Excellent condition with one small note below.

The various layers of silk also act as the lining for the dress. It closes with a hand set, painted metal side zipper above the waist and then has elastic through the waist and around the upper edge of the bodice. Hidden pockets along the seams of each hip. Hand rolled edges and hand finishes throughout. It does have tiny straps that you could wear over the shoulders but I feel they are more to hang the dress so presented it as strapless. There is the faintest watermark in the silk at the waist. Please see the last photo

Bust: to 18" flat across from side seam to side seam
Waist: 12-15" flat across from side seam to side seam
Hips: to 19.5" flat across from side seam to side seam
Bodice: 16"
Skirt: 41" from waist to hem

Modern Sizing equivalent: XS-MED

Item# DD1199

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3386

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

This is a great set by Giorgio Sant'Angelo that is a real statement piece. The red is a great crisp tone that will flatter most skin tines. The jacket slips on with no closures. It has no collar and the front curves down as it reaches the hem. I love the line this creates and how the hem has a little bit of a flare. The entire front is covered with a curving pattern made out a of a red cording . This curves up and around the shoulder and runs across the back neck. The edge of the front has domed gold studs set along along it. More of these, as well as red paste rhinestones are interspersed through the cording. More of the same circles each lower half of the sleeves. The pants have a banded waist and the legs are full and pouf above the cuffs. Each ends just around the knee and have a button to close each cuff.  Pockets along each hip. Excellent condition

The jacket is lined in a red silky rayon and has no closures. The pants button and zipper to close. Buttons on each cuff and pockets along the hips. Padding in each shoulder

Jacket
Sleeves: 22"
Shoulders: 16"
Bust: to 21" flat across from side seam to side seam
Waist: 19" flat across from side seam to side seam
Hips: 22" flat across from side seam to side seam
Length: 24" from neck to hem

Pants
Waist: 13" flat across the back from side seam to side seam
Hips: 20" flat across the back from side seam to side seam
Pant length: 30" from waist to bottom hem
Inseam: 18.5"
Pant cuffs" 14.25" around and you could move the button a bit of needed

Modern Sizing Equivalent: SML-MED

Item# DD3536

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

Kenzo Takada founded the Kenzo label in 1970 and the label is still in existense despite the loss of Takada on Oct 4, 2020. He was also the honorary president of the Asian Couture Federation. The Kenzo label was, and is, a great success, with a strong cult following and it is wonderful to find such and amazing vintage pieces.

Kenzo traveled the world and his designs often mixed in the influences from those travels. He would mix traditional Japanese cuts and tailoring methods with fabrics from around the world. The interior of the clothes were as important to him as to the exteriors and they are immaculately finished like this one is. This suit is fabulous. The fabric looks like it should be a heavy woven brocade but it is actually quite light. It is woven but it is very fine and soft. The skirt is cut quite full so that that when you move it has tremendous fullness. Yet because the fabric is so light it falls fairly straight with just a suggestion of that fullness when it is on the body. At the hem it is finished with a wide ruffle that adds to the pretty lines. The jacket is superb. It is cut to fit to be fitted to the body with full shoulders and sleeves that narrow in at the wrist. The front wraps over itself and buttons. The front panel is detailed with a large embroidered cluster of flowers set down the front. The waist nips in and then the hips flare out in a peplum. I love everything about it and these early pieces are even more collectible now. It appears to have never been worn or worn very little. Excellent condition.

Both piece are unlined. The skirt slips on with an elastic waist and the jacket closes with the buttons at the front. Each cuff of the jacket closes with two buttons. It appears to have never been worn or worn very little. 

Jacket
Shoulders: 14" across
Sleeves: 23" long
Bust: 16" flat across the back from seam to seam
Waist: 13" flat across the back from seam to seam
Length: 21" from neck to hem

Skirt
Waist: 12-15" flat across from side to side
Hips: open
Length: 27" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD1914

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

Ted Lapidus began selling his designs in the 1950s in Paris. By 1963 his work garnered him a spot as a member of the Chambre Syndicale de la Haute Couture and he added Haute Couture to his ready to wear lines. This dress is from his more expensive ready to wear line and is beautifully made. 

This is a wonderful example of how romantic his work could be. It has a soft and flowing feel to it yet it is fitted through the waist and still gives you shape. It is made of a silk chiffon with a ribbon effect that is fused directly into the silk. This gives the fabric the texture that you see and really plays on the different transparencies of the dress. Where the dress is unlined through the upper bodice and sleeves you really see the square pattern it creates and how you get a glimpse of the skin under the silk. All thin strip of gold thread runs vertically through the silk along the edges of the ribbon that catche the light and give it a touch of glamour. The bodice has in inner more fitted silk  halter suspended by tiny straps and over that the outer layer is set to blouse over with a scooped neck and long sleeves. The waist nips in and the the skirt flows out from there to the floor. Yards of bias cut silk are used on the silk and it is very full when you move. A stunning floral print runs over the bodice and down the front and the back off the skirt and the colors of it absolutely pop off of the black. The dress is very well made and even better in person and on an actual body where the fabric can really move and flow as it was meant to. Excellent condition

Fully lined in a black silky rayon and closes with a painted metal and nylon zipper on the interior and then the exterior buttons to close over that. Each sleeve buttons to close. This is the main label line not the boutique label

Sleeves: 23"
Shoulders: 14"
Inner bust: 16.5" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Inner lining hips: 18" flat across from side seam to side seam
Bodice: 16" from top of bodice to waist but meant to drape a touch
Skirt: 42" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2884

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

This dress is incredible. I have seen one or two of these over the years and feel like at one point I saw it with its original designer label way back, but I did not save the information. This one has no label but it is clearly a well made piece. Plus it is just amazing regardless of its provenance and is definitely a dress that stands on its own merit.

The base fabric is a black felted wool and this gives it a soft, artisanal feel. This has then been printed in a bright rainbow of colors that run down the dress in rows of various states of circles, from full ones to just a sliver of a curve. Each of these are then detailed with pink, blue or green sequins that are set in little clusters at the center of each little dollop of color. Around the waist is an elaborately sequin and beaded 'belt' that is not separate from the dress but rather is a part of the dress and has been detailed onto the fabric. The neckline curves up from the shoulder and the sleeves are long. Each sleeve is detailed with a row of 6 hand beaded circular pattern buttons that run down the cuffs. This same pink beaded button detailing is used at the top of the front vent to keep it closed. The waist is defined by the detailing that you see but is actually cut fairly easy with just a suggestion of shape. The skirt falls from below that elaborate sequin belt and gently widens out a touch as it nears the floor. It is incredible and a personal favorite. Excellent condition

Fully lined in a black silk and closes with a back set painted metal zipper. The zipper sticks a teeny bit at times. All of the buttons are decorative only.

Sleeves: 21"
Shoulders: 15"
Bust: to 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 19.5" flat across from side seam to side seam
Bodice: 15.5" from top of bodice to waist
Skirt: 40" from waist to hem and including the two inch detailing around the waist. 2.5" turned up under the hem

Modern Sizing Equivalent: SML-MED

Item# E684

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

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

This dress is incredible and I love the lines of it. It is made out of fine black wool that has a hand painted design that is worked over the fabric in a variety of metallic paint. There is a gold, a blue and a red. The designs are clusters of little circles bunched in the various circles. Over each burst of color are hand placed and sewn sequins in the matching metallic color. Each sequin is then secured by a matching colored round bead. The fabric is just incredible and the overall effect this creates reminds me of perhaps fireworks. The cut of the dress is equally fabulous. The front plunges in a V and the bodice is more fitted with a curving seam just under the bust. The fabric skims over the wait and then flares out into a very full skirt that falls to about ankle length depending on your height. There is a lot of fabric in the skirt and when you move the movement of it is wonderful. The sleeves are gathered around each shoulder so they have volume and then they narrow down as they reach the wrist. It is even better on an actual body and one of the best Trigere pieces I have seen. It looks like it has been worn very little if at all. Excellent condition

Fully lined in a fine black silk and closes at the back with a metal and nylon zipper. It looks like it has been worn very little if at all. Hand finishes

Sleeves: 21.5"
Shoulders: 16"
Bust: 17.5" flat across from side seam to side seam
Seam under bust: 16" flat across from side seam to side seam
Natural waist: to 16" flat across from side seam to side seam
Hips: open
Bodice: 12" from shoulder to seam under the bust
Skirt: 41.5" from seam under the bust to hem with 2.5" turned under

Modern Sizing Equivalent: SML-MED

Item# DD3535

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

Versions of this dress have appeared in several museum exhibits of his work and I have included a photo from one of the Halston's books that shows a close variation of this style. This is classic Halston from his main label couture line. These one shoulder pieces are one of the most instantly recognizable looks that he ever created. I have versions of these in my own personal collection and this one is a very versatile version of his classic dress

The dress is entirely cut on the bias and utilizes his signature minimal seaming. Halston defined how woman dressed in the 1970s and these one shoulder dresses in particular were tremendously flattering to the body. It is also insanely sexy while still being extremely comfortable to wear. It is feather light and you are barely conscious of wearing anything. The fabric is a very fine light silk chiffon that moves and drapes beautifully. The silk used is on two tones of hand dyed color. The inner dress is a deep raspberry and then one half of the overlay is a deep burgundy. Both  colors are flattering on most skin tones and are a beautiful alternative to black. The inner dress is suspended by a single hook at the shoulder and is made of three full layers of the silk. A second, separate piece is made of the same silk. That second piece is an oversized rectangular constructed from two attached layers of the silk chiffon. This is what allows you to be able to create countless looks. I quickly styled a half dozen variations by tying the over layer in different ways around the inner dress and you could easily get more elaborate if you started using brooches or got more creative. When draped over the shoulder and tied it creates a full second outer layer, cascading down and over the inner layer for his classic one shoulder silhouette. It is spectacular. This is a rare example of Halston at his very best and it is easy to see why it is a piece favored by Museums. Presents as excellent condition but please review the full condition notes below

Constructed in multiple bias cut layers as described above. The inner dress slips on and has a hook at the top of the shoulder and the second outer layer is a double layer of silk in two colors tones. Hand finished and the bias cut should allow it to fit a range of sizes. There are two marks n the inner dress's skirt. One on the hip and one on the lower skirt. You would not see either with the overlay worn over it. The marks are only on the top layer so you could remove the one layer or have it switches to the inside. Note the length will come up when on due to the bias cut

Dress
Bust: 13.5-17.5" flat across from side seam to side seam
Waist: 13-18" flat across from side seam to side seam
Hips: 13.5-21" flat across from side seam to side seam
Length: 62" from shoulder to hem but will come on once one

Outer Layer
80" x 39"

Modern Sizing Equivalent: XS-MED

Item# DD2473

Photo Credit: "Halston" by Phiadon, 2001. Various Halston dresses held in The Metropolitan Museum Permanent collection, NYC

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

The wrap dresses and jumpsuits by Diane Von Furstenberg have become an iconic staple and this is one of the originals. Diane moved to New York with her husband, Prince Eduard Egon Von Furstenberg in 1969. She had design aspirations and in 1970 showed her first collection. It was in 1972 that she first debuted her now-iconic 'wrap dress' for the working woman, revolutionizing American women's apparel. By 1976, she had sold 5 million wrap dresses, landed covers of Newsweek and The Wall Street Journal and was a regular within the pages of Vogue. By then she had added the jumpsuit to her line up and they were a huge success.

Girls bought these jumpsuits in droves and wore them to travel, dance in, and pretty much everything else. You do see Diane's dress versions of these pieces from this time period pop up more often then the jumpsuits do, but I am always on the lookout for these as well. They are harder to find but worth the hunt. This one with its gorgeous floral print in soft pastels is wonderful. The print is screened onto a soft stretch jersey and the design covers the jumpsuit from head to toe. Parts of it almost feel painted on as there is a slight bit of texture to the print. It has long, lean lines and makes you look and feel supermodel tall in it. The top is cut in a halter style and it curves up and around the neck. This leaves the back completely open and bare. It has its original matching tie belt that you can tie around the waist to cinch it in more if you wish. The legs are cut extra wide straight and long so that when you stand still it feels like you are wearing a dress. It is only when you move or sit that you realize that it is legs. The hem of each leg is a full 50" around. The final result is one long, lean, supermodel silhouette. It appears to have never been worn. Excellent condition.

The jumpsuit is unlined, and buttons to close behind the neck and has a low set zip at the back. The fabric is a soft jersey that has an almost heavy T-shirt feeling finish to it. The fabric does have some stretch. It appears to have been worn very little if at all.

Bust:the open back means there are no true side seams
Waist: 13-14.5" flat across from side seam to side seam
Hips: to approx 20" flat across from side seam to side seam
Bodice: approx 15.5" from top of shoulder to waist
Pant length: 41.5" from waist to hem with 2" turned under the hem
Inseam: 31.5"

Modern Sizing Equivalent: SML-MED

Item# DD3525

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 beading technique used on this dress is distinctive and it led me to a dress from this the Fall 1974 collection that uses the same beading technique. That one was photoed by Guy Bourdin for Vogue that season.  And a twin of of that dress was auctioned off at Sotherby's with the final hammer reaching 3000 euros. Examples of Karl's work during this time period are held in museums around the world and are rare finds. This is an important piece of fashion history.

In person, this dress is even better then how it photoed. The cut is simple but it is very sexy with a wrapped feel to the bodice and its long silhouette. The dress is made out of a black silk crepe that has a slight bias cut to it that allows it to flow over the body and mold to your shape. Gold glass tube beads are applied in little angled rows over part of the bodice to highlight that feeling that the dress is wrapped around the body. The beads have been hand applied and are set onto the bodice on the one side up and curve up and around the neckline. From there they wrap around the waist and wrap around the hip in a long curve. This amazing design really emphasizes your curves. The neckline is high and the back curves and dips down quite low to leave the back bare. I love the wrapped illusion created by the way the beading is applied over the bodice and how the neckline curves up and around the neck in such a graceful line. The dress skims over the hips and flares out once it reaches the hem with a touch of a fishtail effect at the back and a side vent that really allows it to flare out as you walk. It is magic once on an actual body. Excellent condition

Partially lined on the same silk through the bodice and the skirt is unlined. It closes with a side painted metal zipper. Hand finished interior and beautifully constructed.

Bust: to 17" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 60" from neck to front hem,  62" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD3293

Reference Photos: F/W 1973-74 Chloe by Guy Bourdin for French Vogue.

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

This vintage Lanvin dress has a brilliant color and print combination on a crisp white base. The jersey fabric it is made of was considered one of the new 'miracle fabrics' of the day as they gave women the option to wash and wear and travel with pieces that needed little or no ironing once you arrived at your destination. Lanvin began producing pieces from these jerseys in the early 1970s to appeal to their younger, jet set clients. I love when I find great examples of these for this time period in the label's history. The dress has long sleeves that pouf out slightly above their buttoned cuffs. It buttons all the way up the front so you have the option of wearing it fully open and over something underneath. The collar is oversized and ends in long points that sit almost in top of the shoulders when the top few buttons are left undone. It falls in a straight line to the hem, widening out very gradually as it nears the bottom. This leave the waist loose and easy. You could easily add a modern belt if you wanted more shape. I love the brilliant, over-sized floral print that covers the dress and the incredible colors that have been used. The fabric is easy to care for and this is a great piece to travel with. Excellent condition.

Unlined and buttons all the way down the front to close with fabric covered buttons. Each cuff buttons to close. The fabric does have some stretch. It appears to have been worn very little if at all

Sleeves: 24"
Shoulders: 15"
Bust: to 18" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 55" from neck to hem with 3" turned under the hem

Modern Sizing Equivalent: SML-MED

Item# DD3519

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

Glossy black sequins that are extra large in size have been densely applied to a structured and fitted base to make this amazing strapless dress. The sequins cover the entire surface of the fabric of the bodice. The dress is strapless and the neckline is cut into a sweetheart shape and the interior is boned and molded. The waist is nipped in and the sequin part curves over the top of the hips for a long and shaped line. Under that is a wide panel of glossy black feathers that gives volume that and movement. This fullness at the bottom adds shape so that your waist and curves are emphasized. It is cut very short and is an amazing vintage find. Excellent condition.

The dress is fully lined with a silky black rayon and closes with a back painted metal zipper. Light boning through the bodice. The bust is shaped and would probably fit up to a C cup. Tagged a UK 12. The dress appears to have been worn very little if at all.

Bust: 16.5" flat across the back from side seam to side seam
Waist: 15" flat across the back from side seam to side seam
Hips: 19" flat across the back from side seam to side seam
Length: 28" from top of the bodice to the bottom of the feathered hem

Modern Sizing equivalent: SML-MED

Item# DD3517

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

This dress is a personal favorite and it shows the range of what Hanae Mori was capable of. The dress is simple and beautiful but still striking. It dates to the late 1970s, early 1980s and it is an absolute work of art. Hanae was the first woman of Japanese descent to have presented on the Paris and New York Runways and the first Asian woman to be admitted as an official Haute Couture house to La Chambre Syndicale de la Couture Parisienne. Her work is exceptional.

This dress is a wonderful example of her range as a designer. It also showcases her extraordinary and meticulous attention to detail. The inner construction on this one is partially finished to Haute Couture standards and I have included a photo of the hand finished inner seams. I think that it may have been a special order placed through Saks Fifth Avenue based on the level of detail on the inner finishes. The dress is as light as a feather to wear because of the silk chiffon she has chosen to make it out of. The silk was then woven through with a gold lame thread that creates that beautiful design of huge stylized flowers that cover the dress entirely. The gold gives the dress its impact and the lightness of the silk chiffon is easy to wear. The bodice is suspended from the shoulders and has an almost chemise feel to it with the straps set slightly inwards. It skims down and over the body to the waist. The back closes with a series of silk covered snaps and her signature tiny snaps. Below this the skirt falls to the floor in two tiers of chiffon layered over each other for just a touch of fullness. It is astonishingly beautiful. Even more beautiful in person and the photos cannot convey the quality and feel of the high grade silk and the lightness of the dress when on. Excellent condition

Fully lined in a black silk and closes at the back with silk covered snaps to the waist and a series of her signature tiny snaps under that. Hand finished to couture standards throughout the interior. Tagged a vintage Mori 10. It will fit more like a loose chemise on a smaller frame and more fitted through the bust on a larger

Bust: 18" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam of the inner corset
Hips: open
Length: 59" from top of shoulders to hem

Modern Sizing Equivalent: XS-MED

Item# DD3244

Reference Photos: Cherie, Owner of Shrimpton Couture.

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

While researching this stunning dress I found the photo I included here of a dress from 1971 that the same lines and ruffle details. Based on the other work Mr. Givenchy was doing during this time period it makes perfect sense that this would be from that year's collection. In addition, I found a numbered tape inside the seam of the skirt and it may very well denote a special or custom order.

At first glance the fabric appears to be a metallic silk brocade, but as you go closer you realize it is even more special then that. It is actually a fine and very light weight woven netted lace with a blue metallic lurex thread running through the design. The play of the metallic thread against the non-metallic bits adds its own texture to the already textured lace. The fabric has just a touch of transparency to it and I love the unusual deep deep blue of it that has just a touch of purple to make it even richer in feel. Once you get past the sheer brilliance of the fabric you begin to notice the workmanship that has gone into constructing this. The bodice is cut to skim over the bust from the rounded neckline and then it cinches in at the waist. The dress comes with its original belt that can cinch the waist in more. The sleeves are long and are finished with a ruffled the wrist that creates a beautiful little bell shape. The skirt falls to the floor from the waist and gently widens out as is nears the hem. It is finished with a wide ruffled detail that ties on the ruffle on each cuff. It is stunning and even better in person. Excellent condition with a minor note below.

The bodice is unlined and the skirt is fully lined with a blue silk organza. It closes at the back with a fine metal zipper. Inner waist stay hooks to close. The belt closes with hooks. There is the teeniest of marks along the inner edge under the seam at the inner arms but they do not show through. Please refer to the photo after the label shot. There is a numbered tape along the inner skirt seam that I also photoed. Note that if you required more length it would be possible to move the ruffle down as it is set higher up the skirt rather then at the very edge of the hem. I think you could get a good 6" more in length. The sleeves are set the same way.

Sleeves: 24.5"
Shoulders: 14.5"
Bust: to 17" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Bodice: 16" from top of bodice to waist
Skirt: 40.5" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3167

Reference Photo: Jours de France Issue 844, 1971. 

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

In 1962 Capucci opened his first atelier in Paris and took the fashion world by storm. In 1968 he went back to his native Rome and opened his atelier there. By 1972 his work was presented in a museum in Rome at the Museum of Etruscan Art. A remarkable achievement for a living designer. He exhibited again in 1990 and in 2005 he founded the Roberto Capucci Foundation to preserve his numerous drawing and archives. His pieces tend to be highly architectural and the ones you see in exhibits border on not being wearable, so it is a treat to find a beautiful and highly wearable example of his work.

From the late 1970s comes this fabulous little deep blue chiffon dress that is cut to flow and drape over the body. The neck is cut wide to give a glimpse of the upper shoulders and the sleeves flow from there in an expanse of volume and fullness to above the buttoned wrist. The skirt has yards and yards of chiffon and flows to the floor in a pretty, light expanse of fabric. The back and bodice are especially pretty with their pin tuck lattice design that is detailed with a little clear beads where each pin tuck crosses over the other. It is lovely and a rare example of a hard to find designers work. Excellent condition

Fully lined except for the sleeves and closes with a back zipper on the interior fabric and snaps on the outer. Each cuff closes with a hidden snap under a silk covered button detail. Hand finished inside and hand applied beads.

Sleeves: 24" approx.
Shoulders: no defined seam
Bust: 17" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 15" from shoulder to waist
Skirt: 45" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2753

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

This is likely the early work of Elinor Simmons before her name went on the labels. She designed for the Malcolm Starr label from the early 1960s to 1972. You can see her influence in this classic feeling Malcolm Starr dress with its almost sculptural lines and addition of the rhinestone embellishments on the bodice.

At fist glance the fabric used almost looks quilted, but upon closer inspection you realize that the little quilting lines are pressed directly into the fabric. This gives the dress an instant shot of added texture that is very pretty. The fabric seems to be a cotton or cotton mix. This allows it holds the shape and the colour beautifully. The bodice skims over the torso with darling little capped sleeves. The waist line is defined with a seam and set just a touch higher then the natural waist for a hint of an empire feel. The neck is high with a notched front. The skirt neatly falls from the waist and gradually widens out to just about the knee or slightly under. The fabric is a pretty pinky red that has a bit of a cherry feel to it in person. I love the little sprays of flowers that cover the surface. The centres of the flowers are finished with little coloured rhinestones and this gives the dress a touch of glamour. The colours used are wonderful and the dress is gorgeous. I love that it has pockets hidden away along the seams of the skirt. It is really a lovely dress. Excellent condition.

Fully lined in a red silk and it closes with a painted back metal zipper. It appears to have been worn very little if at all. Note that the colour is more a pink red in person and even better then how it photoed

Shoulders: 15"
Bust: 17.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Bodice: 14" from top of bodice to waist
Skirt: 24" from waist to hem with 2.5" turned under the hem 

Modern Sizing Equivalent: SML-MED

Item# DD3506

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

This is the vintage fur everyone looks for. That simple box cut to just past the hip in a natural red fox. It was the jacket that every 'It girl' of the seventies wore. It has a strong nod to the 1940s in its cut and fits perfectly once on without overwhelming the body. The shoulders on this one are soft and rounded and the cut through the body is loose and generous. It has an almost swing jacket cut to it. All of the pelts run horizontally and I love how they all line up across the sleeves and through the body. Suede insets run between the pelts but the fur is so thick and plush that you don't see them once it is on - they are just there for a touch of structure. It has no collar and the neckline is cut a little wide across the top. Fur hooks are hidden down the front. The pelts are thick and glossy and it looks to have never been worn or worn very little. It is a stunning choice for the girl who believes that vintage fur is a sustainable choice. Excellent condition.

Fully lined in a golden silky rayon and the lining is spotless. Closes with fur hooks down the front. It has been specialty cleaned. Perhaps the teeniest of wear near on the fur at the edges of the cuffs but very minor.

Sleeves: 22" 
Shoulders: no defined seam
Bust: 20" flat across from side seam to side seam
Waist: 21" flat across from side seam to side seam
Hips: 22" flat across from side seam to side seam
Length: 32" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# C548

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

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

This has a very Bonnie Cashin vibe to it with those fantastic turn key brass closures that run down the front. That little addition of those fabulous details really gives this one an extra shot of style. The jacket has a simple box cut to just past the hip and it is made from a natural red fox. This is the jacket that every 'It girl' of the seventies wanted and wore. The shoulders on this one are soft and rounded and the cut through the body is loose and generous. All of the pelts run horizontally and I love how they all line up across the sleeves and through the body. Taupey leather insets run between the pelts but the fur is so thick and plush that you barely see them once it is on. They are just there for a touch of structure. You do see the leather that runs behind the turn keys at the front and there is a thick band of it used to finish each cuff. Another thick band of it runs up each side and down the insides of the sleeves. The collar is wide and pointed and backed in the same leather. The pelts are thick and glossy and it looks to have never been worn or worn very little. Pockets on each hip are the perfect finish. It is a stunning choice for the girl who believes that vintage fur is a sustainable choice. Excellent condition.

Fully lined in a brown silky rayon and the lining is spotless. Closes with the turnkeys down the front. It has been specialty cleaned. Perhaps the finest bit of wear to the very edge of the back hem but nothing that detracts. 

Sleeves: 28" 
Shoulders: no defined seam
Bust: 22" flat across from side seam to side seam
Waist: 24" flat across from side seam to side seam
Hips: 28" flat across from side seam to side seam
Length: 34" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# C549

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

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

The Snooty Hooty label was sold at a small independent boutique of the same name in Atlanta. The boutique was open in 1966 under the name Serendipity by Barbara Weiss and it wasn't until 1969 when the name was changed after a grumpy client called one of the salespeople snooty and Weiss paired it with Hooty. My client bought this dress right in the very early years of the shop name changing. 

I love this dress with its combination of colours and that amazing cut. The printed parts are made of a floral brocade fabric that has an almost canvas feel to it and that really helps it to hold the shape that you see, including the pouf of the incredible sleeves. That fabric is used all along the sides and back of the dress and then each sleeve has it for the lower portion where it really poufs out above the wrist. A dusky pink was used all the way down the front and for the upper portion of the sleeves for an added pop of colour. Where the two fabric meet there is an elaborate border of a black cotton lace that adds some texture. The front plunges quite low and laces in a way that leaves bare skin exposed between the laces. It appears to have never been worn or worn very little. Excellent condition 

Unlined and closes at the back with a painted metal and nylon zipper and the front laces as shown. Elastic in each cuff. It appears to have never been worn or worn very little. The pink is a little lighter in tone then how it photoed. 

Sleeves: 25.5"
Shoulders: 15.5"
Bust: 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Length: 51" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# D623

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

James Galanos was known as the designer that could rival the French in terms of construction and design. He launched his atelier in 1951 and though he was never a designer that was formally acknowledged as being a true Haute Couturier, he certainly produced clothing that had all of the hallmarks that define couture. This attention to detail and cut gave him the status as being known as one of the 'American Couturiers'. This dress is a fantastic example of his work and its twin is held in the permanent archives of the Goldstein Museum

This dress with its huge bright print that runs down the front is exceptional. I absolutely love the drama and high couture feel of it. The fabric is beautiful. It is a gorgeous black silk crepe that has a good weight to it so that the lines he wished the dress to have stay perfectly in place once it is on the body. The body is cut to skim over you and the neckline is cut in a wide low V. The width of that V leaves just a touch of collar bone exposed. The sleeves end at above the elbow and each puffs out above the piped cuff. The back dips into an even lower V which leaves a large expanse of skin exposed. The skirt falls from under the bodice and it is interesting how it is set on a curve under the bust at the front instead of a more standard straight seam. Tiny soft folds run around this curve and it wraps around the sides and part way at the back. This curve perfectly follows the top of the floral design that has the feel of a piece of art painted into the fabric. The one single huge flower runs the full length of the skirt to the just above the hem where the leaves of the flower peak out. The back is left a solid black so that you get this long unbroken line with just a hint of what is happening on the front from the bits of the print that peek out at the sides. It is amazing. Excellent condition.

Fully lined in a black silk. The inside seams are ribbon edge finished. Hand finished and closes with a hand set, back painted zipper that is offset to follow a seam

Shoulders: approx 16"
Bust: 17.5" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: 19.5" flat across from side seam to side seam
Length: 57" from shoulder to hem, with 4" turned up under the hem

Modern Sizing Equivalent: SML-MED

Item# DD3489

Reference Photo: 1965-1975 James Galanos Dress at the Goldstein Museum of Design Collection.

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

Donald Brooks pieces are always very well made and the pieces from his Boutique line have a real sense of ease and fun about them that I love. Brooks launched his main line label in 1964. He only designed for a very short time, closing his business in 1973. He had a secondary, boutique line that he started in 1971 that also closed in 1973. This set is from the boutique line which gives us that small time period from 1971-1973 for its date.

This is a super cute and fun cropped skirt and top set that has that perfect seventies feel to it. This set is especially cute with its bright and cheerful print on a white cotton base that really lets the colors pop. The top has extra wide sleeves that come out from the bodice so they kind of slouch with an easy feel once on. It has no closures down the front at all, instead it has ties that extend out from the cropped bottom and then you tie it into place. This cropped length gives you an expanse of bare skin between the bottom of the top and the skirt. The skirt is long and is cut more on the fuller side with a banded waist and buttons that run all the way down the front. I love that it has pockets on each hip. On both pieces that pop of the bright colors against the white is just amazing. Excellent overall condition with a minor note to review below

Both the top and skirt are unlined. The top ties at the front to close and the skirt buttons down the front. Pocket on each hip of the skirt. There are some small faint marks at the front of the skirt and along the waist as well as one on the top. All minor. Please review the photos after the shot of the label

Top
Bodice: no true side seams
Waist: adjustable with the tie front
Length: 16" from neck to hem and you can tie to adjust shorter if you wish

Skirt
Waist: 13" from side seam to side seam
Hips: open
Total length: 40" from waist seam to hem with 3.5" turned up

Modern Sizing equivalent: SML-MED

Item# DD3480

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

In the 1960s if you wanted to wear something with a dramatic flare then you chose the work of Ronald Amey. He was known for his original use of fabrics and colors and his dresses were priced into the thousands even in the 1960s. His career was very short-lived. From 1959-1969 he designed under the label Burke-Amey. Joseph Burke, his partner, took care of the business side of things. In 1970s he bought out Burke and renamed the company Ronald Amey where he continued to produce his dramatic clothing until the label shuttered in 1976. His clothing was of very high quality and he incorporated many couture level details into their construction. All of his pieces were sewn in-house at his New York atelier

One of his signatures was to combine prints, fabrics and detailing embellishments in interesting, unusual ways and this dress is a wonderful example of that. This is an absolutely beautiful dress and I think that in person it is even better. The bodice is cut to curve around the body and then it is cinched in at the waist area. The sleeves are spectacular and each is cut to be full and voluminous. The skirt also has volume and is cut in a wide curve that billows out and away from the body. The base fabric is a printed silk organza. This choice of fabric allowed him to give the sleeves the volume you see but it also keeps the dress light in weight. The neckline is high and the detailing on it runs wide across the tops of the shoulders. That metallic band that Amey used to detail the dress is fantastic. It is a lattice made of silver metal thread that has little eyelash tufts attached to it. This is then bordered by a band of gold and silver thread. This curves around the neckline and then down the front all the way to the hem of the skirt. More of this silver and gold detailing runs around the hem, the waist and then is used again for the cuffs on each sleeve. Big dome buttons that are wrapped in a gold metal thread sit at the back of the neck and on each cuffs. Excellent condition with one minor note below.

Fully lined in a pale ice white blue silk throughout. Entirely hand finished. It closes with a back zipper and two gold buttons at the neck. Each cuff has three gold metal dome buttons and loops. There is one gold bead missing on the top button at the back of the neck otherwise the dress appears to have been worn very little if at all. The dress is even better in person. The length will land from midi to just above the ankle depending on your height

Sleeves: 24"
Shoulders: 14.5"
Bust: 17" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of bodice to waist
Skirt: 36" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3481

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

In the 1960s if you wanted to wear something with a dramatic flare then you chose the work of Ronald Amey. He was known for his original use of fabrics and colors and his dresses were priced into the thousands even in the 1960s. His career was very short-lived. From 1959-1969 he designed under the label Burke-Amey. Joseph Burke, his partner, took care of the business side of things. In 1970s he bought out Burke and renamed the company Ronald Amey where he continued to produce his dramatic clothing until the label shuttered in 1976. His clothing was of very high quality and he incorporated many couture level details into their construction. All of his pieces were sewn in-house at his New York atelier

One of his signatures was to combine bold colors, prints and fabrics in interesting, unusual ways and this dress is a splendid example of that. The colors are bold and the mix is dramatic. The bodice and sleeves are sheer orange printed silk chiffon that is layered over the same printed coral ribbon silk that you see used for the skirt. This gives the top a very couture and quirky feel. The neckline is cut wide across the collarbones and it is anchored by a wide band of blue silk satin that is top-stitched in gold thread. This curves around the neckline and then down the front on either side of the notched front. The panel continues past the seamed waist and runs down the center of the skirt where it ends with a large diamond of the same fabric in brown. More of the blue runs around the hem and then is used again for the cuffs on each sleeve. The combination of the orange, coral and blue is spectacular . The heavy dose of all those prints, colors and patterns should not work but it does. The perfect finish is the wide fabric belt made of the same blue as the banding and this wraps around the waist where you can cinch it in and leave it simple as I did or tie it in a far more elaborate way. The exterior is in excellent condition with a note about the lining to review below.

Fully lined in a bright peach silk throughout. Entirely hand finished. It closes with a front zipper and there are zippers on each cuff. The zippers stick a bit when you open and close them. There is shattering of the silk around each arm on the interior. The exterior fabrics are sound and show no wear at all. The exterior of the dress appears to have been worm very little. The dress is even better in person.

Sleeves: 22"
Shoulders: 16"
Bust: 18.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 15.5" from top of bodice to waist
Skirt: 40.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3478

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

Really great Ossie Clark pieces are becoming increasingly harder to find anymore and this one is amazing. The print that you see on the jumpsuit  is by Celia Birtwell and has a floral print in shades of blue on black. That original Birtwell design is called 'One Step, Two Step' and it covers the jumpsuit from the top of the collar to the bottom of the wide pant legs. It has been printed on a black satin and this fabric choice gives it a bit of an evening feel and also shape and structure. The sleeves are cut fairly straight and long with just a slight tapering in at the wrist from the shoulder.  Each shoulder has tiny gathers at their tops so that they have just a touch of volume. The waist seam is set high to land just under the low dip of the neckline. French pleats are set along that seam adding some detailing. The legs seem even longer because of the way it is cut and I love the deep V plunge at the front. My client purchased this jumpsuit at a past auction of Celia Birtwell's personal collection of Ossie Clark pieces. This is most likely a one-off. It does not have a label but was owned by Celia and came directly from her collection. Excellent condition with a tiny note below to review

Unlined and closes at the front with a hidden set painted metal zipper under the waist seam. Unlabelled. I see some stitch marks where it appears some seams were let out to gain length through the torso. Is is not cut very long through the torso so make sure to check that measurement

Sleeves: 25.5"
Slightly inset shoulders: 13"
Bust: 17" flat across from side seam to side seam
Slight empire waist: 13.5" flat across from side seam to side seam
Hips: open
Bodice: approx 12" from top of bodice to waist
Leg: 49" from slight empire waist to hem
Inseam: 34"
From neck to inner leg seam: 27"

Modern Sizing Equivalent: XS-SML

Item# DD2882

Reference Photo: Ossie Clark/Celia Birtwell printed black satin jump-suit, circa 1974, from Live Auctioneers Archive.

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

Holly Harp opened a shop LA in the late 1960s and created custom clothing under the Holly's Harp label. She tended to create her clothing out of a hodge-podge of new and old materials. In the beginning she favored things like feathers and fringe but her aesthetic became more 'grown up' and glamorous as her career progressed and she ficused more on jerseys and draping. She was an avid thrifter and you can see the influence of earlier decades in her work.

This is a great set that is made from an easy to wear and care for jersey. It is two pieces. A pair of loose and easy pants and a top that you just slip on over your head to wear. The pants are have a banded waist and then are loose and generously cut through the hips. From there they taper down to the ankles where they have a high slit that runs almost to the knee but us partially hidden by the way the fabric is set to slightly overlap. So you only get the idea of the opening when you move or sit. Down each side of the pant is a large ruffle of fabric that has a wavy finish to it. These give the pants lots of movement when you move. The top is made out of a loose cut tank that is topped by an almost cape like outer layer. It is cut angled up higher at each side and then ends in a point at the front and back. The neckline mirrors that same V and there are little weights inside the base of the v at the neck so that is draped perfectly once it is on. It really transforms on an actual body and the movement it has is fabulous. Being two pieces means you will be able to endlessly mix and match it with other pieces too. Excellent condition

Unlined and the pants zip to close and the top slips over the head. Attached weights at the V of the top so its sits properly on you once it is on. Both pieces are tagged a small but the pant waist is cut generously.

Top
Bust: 15-18" flat across from side seam to side seam
Waist: 14-16" flat across from side seam to side seam
Length: 18" from top of shoulder to shortest point, 24" to longest

Pants
Waist: 15" flat across from side seam to side seam
Hips: open
Length: 40" from top of bodice to waist
Inseam: 28.5"

Modern Sizing Equivalent: SML-MED

Item# DD3474

Reference Photo: Cherie, Owner of Shrimpton Couture.

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

This dress is made out of a rich black silk jersey that gives it that beautiful draping effect that you see. Its rich pleats and the way that the fabric is draped and placed gives it a touch of a Madame Gres feel and it is insanely beautiful. It has both a refined simplicity and yet is is very complex at the same time. The depth that the jersey creates adds to this while the fabric is still soft enough that it retains a sensual feel. The dress flows to the floor in a long and dramatic swoop of jersey. The skirt is set under the corseted top in a way that when you are standing perfectly still it falls in perfectly soft rounded pleats. This is very difficult to achieve with this type of fabric. The bodice is shaped and softly boned so that it has a more structured.feel to it and this is added to by the high peaks of the front bodice. The jersey is draped over this and crosses over the bust in the most beautiful of ways. The sleeves are very unusual. Each is a single layer of jersey with a peaked part created near the shoulders. You could wear then up and on the shoulders but I think they are best worn when they are left draped down and off the shoulders. This leaves the shoulders completely bare and that peaked cut  on each of them turns into a soft, wide draped along the upper arms. The cuffs narrow in for a simple finish. The dress is finished with lots of handwork and high quality construction technoques. The photos do not come near to how amazing this dress is in person. Excellent condition

The bodice is fully lined in black silk and the skirt unlined. It closes with a hidden set side painted metal zipper. Boning through the sides and bodice. Hand finishes throughout. Tagged a 38. It appears to have been worn very little if at all.

Sleeves: approx 24"
Bust: to 17" flat across from side seam to side seam
Waist: to 13" flat across from side seam to side seam
Hips: open
Bodice: approx 15" from top of shoulder to waist
Skirt: 46" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3472

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

This is an incredible belt by Yves Saint Laurent and dates to the time period from when he was creating his famous Russian collection. You can see in the reference photos how this style of belt was used in a variety of colors and finishing details to perfectly set off the collection. This one is a chic cream ivory canvas on a natural leather base combination. It is trimmed with an ivory and gold braiding with long ivory and deep goldr braided ties. At the end of each tie is a knot and a large glossy white bead. It simply wraps and ties at the front and can top just about anything. This is an important piece of fashion history and a rare find. Excellent condition

Marked a brand size 3 and measures 27" from end to end of the actual belt part and then the braided ties extend a 21" on either side. The total length including the ties is 69". The belt itself is 2.5" wide. Perhaps a touch of grubbiness to the braiding but no true flaws

Item# A374

Reference Photos: (1) F/W 1976-77 Yves Saint Laurent evening ensembles from The MET Collection online.  /  (2) 1977 Yves Saint Laurent Rive Gauche Ad.  /  (3) 1976 Yves Saint Laurent Peasant collection for American Vogue.

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

This is an incredible belt by Yves Saint Laurent and dates to the time period from when he was creating his famous Russian collection. You can see in the reference photos how this style of belt was used in a variety of colors and finishing details to perfectly set off the collection. This one is a wider cut, more dramatic version of the other two that I have in the shop right now. The main belt part of it is made out of a black canvas on a black leather base combination. It is trimmed with a gold metallic flat piping and gold metallic rick rack and then has a long black and gold braided ties. At the end of each tie is a 4" black tassel. The tie part is not attached to the belt so to wear you simply wrap it around yourself and then use the hooks at each end of the belt to hook and tie it at the front. It can top just about anything and its wider width really defines the waist. This is an important piece of fashion history and a rare find. Excellent condition

Marked a brand size 2 and measures 25.5" from end to end of the actual belt part and then the braided tie is 54" long. The belt itself is 3.25" wide. Perhaps a touch of grubbiness to the braiding but no true flaws

Item# A373

Reference Photos: (1) F/W 1976-77 Yves Saint Laurent evening ensembles from The MET Collection online.  /  (2) 1977 Yves Saint Laurent Rive Gauche Ad.  /  (3) 1976 Yves Saint Laurent Peasant collection for American Vogue.

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

This is an incredible belt by Yves Saint Laurent and dates to the time period from when he was creating his famous Russian collection. You can see in the reference photos how this style of belt was used in a variety of colors and finishing details to perfectly set off the collection. This one is a beautiful cool red canvas on a red leather base combination. It is trimmed with a red, white and blue braiding with long red and blue braided ties. At the end of each tie is a knot and a large glossy red bead. It simply wraps and ties at the front and can top just about anything. This is an important piece of fashion history and a rare find. Excellent condition

Marked a brand size 2 and measures 25" from end to end of the actual belt part and then the braided ties extend a 21" on either side. The total length including the ties is 67". The belt itself is 2.5" wide. Perhaps a touch of grubbiness to the braiding but no true flaws

Item# A372

Reference Photos: (1) F/W 1976-77 Yves Saint Laurent evening ensembles from The MET Collection online.  /  (2) 1977 Yves Saint Laurent Rive Gauche Ad.  /  (3) 1976 Yves Saint Laurent Peasant collection for American Vogue.

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