This dress is a version of the dress I just recently sold in the shop with just a slight change in the design. Yves sent a series of these dresses down the runway that year including a shorter version to this one where the smaller bands on the dress were done in multi-colors and an all black long one that was used in the 1987 ad campaign. I have included these reference photos for you so that you can see just how great this dress is on the body. In person and even on the dress form it just does not present as well as it will once on a girl who properly fits it and brings it to life. The 1987 collection is one of my all time favorites and I am very pleased to have this wonderful example from it in the shop for you so soon after the last one.

The dress is made from a black silk faille base with a layer of dotted black netting applied over the bodice in horizontal bands. This choice in fabric gives the dress its structure and shape so that it holds the shape around you once on. The bodice is strapless and cut on a soft curve across the neckline. It is lightly boned on the inside for a built in shape that molds your form to it. It curves in just slightly to skim over the waist and then curves back out for the hips. From there it falls past the hips and the lower skirts flare outwards to the hem. The lower skirt is quite full and makes an incredible statement. The bands between the lace of the bodice are made from wide black silk grosgrain ribbon and they are beautiful and rich feeling. I love the contrast between the texture of the grosgrain and the dotted silk netting. At the back, each ribbon warps around and ends in a large flat bow for five of them in total running down the center of your back. Bows were a prominent part of the theme for this show and this dress displays that wonderfully. That combination of the grosgrain ribbon, the dotted lace, the bows, and that stunning full lower skirt is just gorgeous to see and it is even better on the body. Excellent condition

Fully lined in a crisp black cotton and closes with a side set zipper. The inner bodice is lightly boned and shaped. Inner waist stay that hooks to close with a flat hook & eye. Tagged a 42. It appears to have been worn very little if at all.

Bust: 16" flat across from side seam to side seam with an A-small C cup built into the front
Waist: 13.5" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 52" from top of bodice to hem

Modern Sizing Equivalent: XS-SML

Item# DD4431

Reference Photos: (1) Spring 1987 Yves Saint Laurent Ad Campaign (2-4) Spring 1987 Yves Saint Laurent Runway /  (5) Spring 1987 editorial photo source 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.

This is a stunning dress and shows the softer, more romantic side of Lanvin from this time period. This would have been designed by Jules-Francois Crahay, who headed the Lanvin ateliers from 1964-1984. In the book Lanvin by Rizzoli, that has a lovely forward from Alber Elbaz, it is noted that the Spring 1984 was Crahay's last RTW collection for the label before his retirement. Crahay's time at the Lanvin label is one of my personal favourite periods for the house and I think it is so special to have a documented piece from his last RTW collection. Having the runway photos makes it that much more special since you can really see how great this one is on the body.

The dress is made from a beautiful hand loomed red linen. The linen gives it a stunning texture and the depths of colour that is achieved by using linen is fantastic. It has been lined in a black silk and from the back this gives it that wonderful contrast that you see. From the front the dress is this beautifully simple and romantic feeling dress. The sleeve are softly gathered into the shoulders and they are cut wide and straight to just above the elbow. The bodice is squared off at the front and it is cut to skim over you to the waist. The cut through the waist area is loose and easy and depending on how tight you tie the back it can sit more loose and easy or with a bit more shape. The skirt is set into the waist in a series of tiny soft gathers. This picks up beautifully on the shoulders and adds a little volume around the hips and through the skirt. I love the pockets hidden along each hip. They really add to the easy feeling that the dress has. The skirt has tons of fabric in it. When you stand straight you don't really realize how much fabric has been used but when you move or sit it really flows around you beautifully. The back is almost shocking with the surprise of it when you turn around. He has scooped the waist down to expose the very lower back and then it is open above that and held in place by three ties. The linen extends out on each side of that scooped back in wide ties and then each tie is a combination of the red linen on the top and the black silk underneath. When you ties these into bows you get this fantastic combination of red, black and your bare skin peeking out between it all. It is a fantastically surprising dress that is sexy and easy at the same time. I love it. Excellent condition

Fully lined in a black silk satin through the top and black silk through the skirt. It close with a the hidden zipper on the inner lining at the low back. The back ties into place above that. There is a slightly darkened spot on the front skirt that is very minor. The dress is numbered under one folded edge of the tag. I did not take a photo of it because it's really hard to get to but if you twist the edge up you can see it.

Sleeves: 12.5" and 14" around at the widest point
Shoulders: 15"
Bust: to 18.5" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Hips: open
Bodice: 15.5" from top of bodice to waist
Skirt: 43" from waist to front hem, 47" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD4429

Reference Photos/Video: (1) Spring 1984 Lanvin Runway.

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

Bill Blass launched his label in 1970 when he bought out the Maurice Rentner label and re-launched it under his own name. Blass was arguably one of the most famous of  the American designers. His forte was the ability to mix simple styles with luxurious materials and his evening wear in particular seemed to have of always being flattering on the body. This is a gorgeous example of his work into the 1980s. The teak silk is even better in person and it is just beautiful.

The fabric of this dress is stunning. It almost has a sueded feel to it and it is all cut on the bias. It falls from the shoulders in a stunning sheath down the body and widens out as it nears the hem. The front is cut in a way that feels more simple and straight and then at the back is where you have a lot of drama. It is sleeveless and the neck is cut straight across at the front. Each shoulder has a intricate detailed art deco feeling spray of beads across the top of the shoulder. The beads are an iridescent copper gold and they pick the light up wonderfully. The back is exceptional and when you walk away or turn in this dress no one is going to forget you. The silk is gathered in around the top of the shoulders and then drapes down past the waist. He did not add a waist seam to the front of the dress but at the back he did put on in to both bring it in and give the silk a place to be gathered into to. This also gives you more shape as well. The fabric drapes down from the shoulders and around the sides a bit and then is gathered back into that low center point of the back. This leaves the entire back bare and exposed. This unexpected flash of skin is seriously sexy and the drama of that draping is fantastic. The fabric is also gathered more at the back of the skirt so that you have a bit of gorgeous movement happening when you move. It is really a stunning piece. Excellent condition

The dress is lined through the bodice in the same fabric and the skirt is unlined. It closes at the back with an overlapping flap of silk that hooks into place. Hand finishes throughout. The easy cut should allow it to fit a range of sizes

Bust: 17-19" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Hips: to 24" flat across from side seam to side seam
Length: 56" from top of shoulder to front hem, 59" to the back hem

Modern Sizing Equivalent: SML-LRG

Item# DD4423

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 Haute Couture dress that came to me from the niece of the original couture client, In our hunt for more information on it we found the runway photos from the 1982 Givenchy Haute Couture presentations and you instantly see that it is its twin in all ways. I love having the runway photos so that you can see just how amazing it is in the body. This dress was made by hand in the atelier of Ady Couture who was based in Lausanne Switzerland. Ady herself was a couture trained seamstress and headed a team who had full permission of the Haute Couture houses she worked with to make the designs they showed in Paris for clients based in Switzerland and the surrounding areas. She would purchase the couture fabrics from the couture houses along with the patterns and then make the actual dresses in her atelier. This arrangement with the couture houses was a way to work around customs during this time period and do fittings for clients unable to travel to Paris. So far we have verified that she had this arrangement with Yves Saint Laurent, Christian Dior, Givenchy and Ungaro. There may have been others but those are the four labels we have documentation on from the runway.

The dress is made from a deep copper gold silk taffeta and this fabric choice allows it to hold those stunning lines and volume that you see. It is absolutely beautiful and a testament to the level of design that you only see in couture pieces. The colour of the silk is even better in person. I have managed to almost capture it in these photos but in person it is even richer feeling then what you see here. At the front the neckline is set in a simple high scoop. The bodice is cut to skim over your curves and is simple in cut. The sleeves are incredible. Each one is set on a curve to follow the shape of the arm in the traditional manner of dressmaking. They are set into the shoulders with a beautiful series of soft pleats so that you get a bit of volume at the shoulder. They puff out slightly around the upper arm and then narrow down at their ends. The waist is seamed and the skirt is gathered all the way around the waist in a series of soft pleats. These puff out from the waist slightly and this little couture trick gives the illusion that the waist is smaller then it is. On the runway it was shown with a black velvet bow and I have added one to emulate that same look. The skirt is one of the best skirts I have seen both from a design point of view and by its level of construction. It is made into two attached sections. The top comes out from the pleats all around the waist and it poufs out around you. A seam brings the skirt in and then the lower part of the skirt falls to the floor from there. That second tier has many yards of silk in it so that it flares out as it reached the hem. Between the two sections is a wide velvet ribbon that wraps around the seam and ties into a bow at the side. Which beautifully picks up on the bow around the waist. All of the volume and shape that you see is created through the way it is cut and the fabric choice. The skirt does not have extensive underskirts to shape it. The silk of the skirts are lined in a silk organza to help give support but it is really the genius of the cut itself that creates the shape. An elaborate and intricate floral design runs across the front and back of the bodice and down each sleeve. Hand done embroidery work is combined with tiny black sequins and hand applied beads. It is some of the finest hand work I have seen. Inside the dress is completely finished to couture standards with every seam finished by hand. I have taken some detail shots for you to see the fine workmanship inside. It is an incredible piece and absolutely beautifully made. It appears to have been worn very little if at all. Excellent condition 

The bodice is fully lined in a matching gold toned silk and the skirt is fully lined with a slightly gold tinged silk organza. It closes with a hand placed back zipper and the skirt snaps into place with silk covered snaps over that. Hidden set zippers at each wrist. Hand finished throughout. The velvet ribbon out is not original to the piece but will be included. It appears to have been worn very little if at all. Made to Haute Couture standards with a tremendous amount of detail put into its construction. It is a slightly softer gold copper in person then how it photoed.

Sleeves: 26"
Slightly inset shoulders: 13.5"
Bust: to 19" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: open
Bodice: 15.5" from shoulder to waist
Length: 42" from waist to front hem, 45" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD3685

Reference Photos: Fall 1982 Givenchy Couture Runway.

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

This dress is instantly recognizable as having been designed by Bob Mackie. He was best known for dressing Cher and for his signature glamorous looks. The best of his work are the pieces like this that are dripping with bead work. Modern girls are obsessed with his vintage pieces. He worked for both Edith Head and Jean Louis prior to working as a costume designer and co-designing with Ray Aghayan. That led to his incredible journey in designing for stars like Cher and Diana Ross for many years. In many ways his creations defined their careers and that era of glamour. His work always has that touch of the best of the bygone glamor of Hollywood.

This is an amazing dress that is extremely flattering even though you are covered completely. The base of the dress is made of a soft peach silk and then onto that is the vertical bands of detailing that completely cover the dress. That design that you see is made up of a combination of muted gold and clear glass tube beads that have been set in vertical rows over the entire dress. There is a more intricate pattern over that on one shoulder, around the collar and down the sleeves that is made up of tinier tube beads, muted gold sequins and rhinestones. And then scattered within all of that are little highlights done in a silver sequin with a tiny clear bead at their centers. This ultra glamorous combination gives the dress an extra layer of texture and glamour as every inch of it catches the light and sparkles. The dress has a decent weight to it when it is off of the body because of that extensive bead-work, and yet once on the body it drapes in a way that it is balanced and not at all unwieldy. The necklace is high and the collar is extremely detailed. I love the detailing on the outside of each sleeve. The waist is brought in just a touch to create shape and that curved down and angled seam there that is detailed with more rhinestones and beads helps to really lengthen the feel of the dress around you. The skirt call store from there and slightly widens out as it nearest the ham. It's a long slim shape combined with all those vertical rows of bead work make you look tall and lean once you are in the dress. Excellent condition.

Lined through the body matching peach chiffon and the sleeves are unlined. It closes with a back zipper and each sleeve has a zipper at its end. Padding in each shoulder. A touch more pastel feeling in person. Tagged a vintage Bob Mackie 6

Sleeves: 22"
Shoulders: 15"
Bust: 16.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 57" from neck to longest point of the back hem

Modern Sizing Equivalent: XS-SML

Item# DD4426

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 was from Paris and moved to the US in 1937. That early French influence showed throughout her career. In 1949 she was awarded her first Coty award. She won it again in both 1951 and 1959. The 1959 win coincided with being inducted into the Coty Fashion Hall of Fame. She was a pioneer in the use of cottons and wool for evening and her work with silks is wonderful. In 1961 she made headlines for being the first major fashion house to use an African American model. This is a stunning example of her work from the sixties and it is gorgeous.

This dress is just fantastic and so easy to wear. The colours on it are brilliant and mixes brilliant tropical red, green, pinks and yellow on a black base. The print has those wonderful giant flowers that are scattered over the dress and follow the beautiful drape of the caftan.  The effect that those vivid colours have combined with the drape and flow of the silk is fantastic. I love it. The neck is a simple deep V for a little bit of skin. The sides are closed along the very outer seam so that it is very loose and easy as it falls over the body. The sides are cut to drape outwards to help make room for your arms and there is a defined cuff that your slip your hand through. The cuffs button to close and there are two glittering crystal buttons on each one. Having the defined arms gives it a bit of shape around you without effecting the fullness of the caftan. The fabric is caught up and under those cuffs so from the side you get this gorgeous draping affect. The back is full with  tons of volume. When you walk you get this wonderful billowing effect around you that that is fantastic. The quality of silk is wonderful and it's like wearing a giant scarf. It is as light as a feather. The dress appears to have been worn very little if at all. Excellent condition

Unlined and  slips on to wear. Each cuff buttons to close. Its open cut should allow it to fit a full range of sizes. There is a tiny bit of chipping to the edges of the buttons but I am being pretty picky

Open through the body
Length: approx 50" from neck to front hem and approx 56" to the back hem

Modern Sizing Equivalent: OSFA

Item# DD4410

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

Loris Azzaro launched his label in 1967 and quickly defined his trademark looks by using ornate fabrics and avant garde ways of defining the body. Some of the most beautiful women in the world wore his clothing including Marisa Berenson, Raquel Welch, Jane Birkin, Sophia Loren, Brigitte Bardot and Tina Turner. It was a label that defined sexiness and had a certain French flare that women world-wide loved. By the seventies and eighties he was experimenting with volume and proportions and new fabrics that at the time were all cutting edge. This is a stunning example of his work during the mid-seventies. When researching we found several examples of dresses from 1973 that utilized the same jagged flame pattern and sequins against silk chiffon. This one actually looks like a sleeveless version of the one shot on Marisa Berenson. This is a label that I really love and am always happy to find pieces from.

This is a gorgeous dress. It is really one that will come to life even more once on an actual body and I hope the photos convey enough of how fabulous it is because when worn this one will be even better. The entire body of the dress is covered with densely applied black sequins and these catch the light from every angle. This covers you from that jagged design on the bodice down and over the hips. The sequins extend right from the flame design at the front and then are set in long vertical rows to the hem. The top of the bodice is a single layer of black silk chiffon. This bit of transparency  adds an incredibly sexy feel. He used that same silk chiffon down the back where it dips into a low scoop. I love the way that the jagged flame pattern defines the bust and that low scoop at the back. A high slit up one side lets you have the perfect flash of skin when you walk or sit. It is fabulous once on an actual body. Excellent condition

Fully lined through the body in a black silk and it zips to close at the back.

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

Modern Sizing Equivalent: MED-XL

Item# DD4403

Reference Photos: (1-3) Marisa Berenson in a Loris Azzaro. October 1973. Photo: Michael Holtz.   /   (4) The cover of the book "Azzaro" for Assouline - Marisa Berenson and Loris Azzaro photographed in 1973, for issue 604 of L'Officiel de la Couture et de la Mode de Paris, by Roland Bianchini.  /  (5) Image from the book "Azzaro: Fifty Sparkling Years"  /  (6) Magazine spread featuring a model in Azzaro, 1973. / (7) Spring 1973 Loris Azzaro Couture.

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 very special and an extremely well documented piece from Spring 1988. It also has the special added provenance of being the twin of one of the four dresses portrayed in that instantly recognizable photo taken in his stunning atelier at that time. That photo is perhaps one of the most famous photos in the Lacroix history. This is from his Luxe label that was only produced the very first couple of seasons. It was very high end, expensive ready-to-wear that was made to near couture standards and was only available primarily to his couture clients and a select few. It was the predecessor to his later regular ready-to-wear collections. It is said that this label only lasted a couple of seasons because some of the couture clients complained at how close the garments were to their Haute Couture pieces. We also found numerous reference photos of the dress as it appeared on the runway so you have an amazing idea of how this dress looks on the body.

Christian Lacroix launched his Haute Couture house in 1987 and his work was instantly adored and revered world wide. He defined an era and he was crowned the King of Couture. A ready-to-wear line soon followed along with perfumes and menswear. His Couture collections in particular were always exotic lavish affairs. He drew his inspirations from across the decades and I doubt there was ever a more high glamour couturier.

The dress is gorgeous. It is made out of a textured silk organza that has a slightly bubbled texture running through it. This gives it this extra added dimension while the lightness of the silk keeps the dress feeling light and airy. Over that is a glorious floral pattern in pinks, yellow and greens set on a black base. It feels so vibrant and beautiful and that combined with the fabric is stunning to see. The sleeves are long and they are cut on a proper curve in the traditional proper dressmakers technique. The shoulders are lightly shaped and the front falls into a shallow V. The dress has a little bit of gathering just at the bust area along the center seam that runs the length of the dress and then it falls smoothly along that seam to the hem under that. It is cut to be fairly straight through the body and meant to skim over you with just a suggestion of shape through the waist. The back has that same sleek shape all the way to the hem and then the bottom 9 inches of the skirt has an inset panel and bustle. This panel is gathered into a curving seam so that it is full and fabulous and at the very center of that there is three half bows done in a black textured silk organza. These are stacked one on top of the other to give that little bit if volume and detail right under your bottom. It is deliciously Lacroix in every way and one of his most famous pieces. It appears to have been worn very little if at all. Excellent condition

The body of the dress is fully lined in a black silk and the sleeves are lined in a white silk. The dress zips to close at the back and each cuff has a zipper to close it. Light padding in the shoulders. Tagged a 44

Sleeves: 22.5" and 13" around the upper arm
Shoulders: 17"
Bust: to 19.5" flat across from side seam to side seam
Waist: to 16.5" flat across from side seam to side seam
Hips: to 19.5" flat across from side seam to side seam
Length: 35" from top of shoulder to hem with 2" turned under the hem

Modern Sizing Equivalent: MED-LRG

Item# DD4401

Reference Photos: (1-5) Spring 1988 Christian Lacroix Collection.  /  (6-7) Models in Christian Lacroix Haute Couture Atelier, Paris, 1988. Photos by Arthur Elgort.

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 has dived into his archives once more for me and today I have two of the dresses he sent for you with more to come. This is a runway piece from 2005. The bead work on it was done by hand by one of the same European ateliers who did beading for many of the Couture houses for this time period. John is one of my favorite American designers and right out of the gate he won the Coty Award for his work. The first time in 1972 and then again in 1976. He designed clothes that were simple and elegant but glamorous. His work veers towards minimalism with sharp tailoring. Striking evening wear was his signature and he is renowned for his cutting and tailoring. It is an extraordinary privilege to have pieces directly from his archives and these are things you will never see again. This one is a work of art and it is just extraordinary to see it in person with all of that extensive bead and sequin work

John's 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 very expensive and beaded pieces like this sold for over $20,000 and more during this time period. Having this actual runway samples that John pulled from his own archives to share with you is just amazing.

This dress is absolutely stunning. The fabric is completely covered in thousand of tiny deep silver seed beads and teeny tiny iridescent aqua coloured sequins.This gives the dress some weight - we weighed it and it is just over 6 pounds - but it is so beautifully made that it balances and glides over the body perfectly and does not feel unwieldy at all. The front plunges right to the waist with two long triangles curving up towards the neck and hooking at the back. On the inside of each triangle there is a panel of the same fabric sewn down their lengths. These drape over the bodice to create a ruffle that falls from the top of the halter to the waist and gives the front a soft and feminine finish. The back is left completely open as a result so when you turn all you see is bare skin I love that curving cut of the sides as it scoops down. The waist is seamed for a bit of definition and then the skirt falls from under there to the floor. It widens out to the lower skirt and this give it beautiful movement when you walk. The colour is this magical deep aqua and silver mix and the way the beads and sequins are set give it a stunning pattern over you. The way this catches the light is fantastic. It is a very special piece. Excellent condition.

Unlined and closes with a low set side zipper at the back and hooks to close behind the neck. Hand finished throughout. Silk chiffon panel finished hem and edges. It appears to have been worn very little if at all.

Bust: no true side seams
Waist: 12-12.5" flat across from side seam to side seam
Hips: 17-21" flat across from side seam to side seam
Bodice: approx 15-16" from top of shoulder to waist
Skirt: 52" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD4399

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 top was done in two almost identical versions for the Spring 1980 runway and I love that they were shown both with pants and a long skirt. It shows you just how versatile that the top is. Having the original runway reference photos also shows you just how gorgeous it is on and moving. Yves showed it with nothing underneath on the runway and the ruffle does go down the front just enough to allow this. If you want to be more covered you would just wear something underneath of course. It is pristine and a very collectable vintage piece due to its strong provenance.

This stunning Yves Saint Laurent top clearly illustrates his love and fascination with pattern mixed with seeing and showcasing the female body. It is made of a semi-transparent black silk chiffon that is has white dots running over the entire fabric. The semi sheerness combined with loose and easy cut are a signature Yves nod to sexiness. The top drapes perfectly in place and highlights everything while showing either everything or nothing depending on how you wear it. It is genius. The sleeves are incredible. Each is very full above the elastic cuff so they puff out fantastically and then there is a ruffle under the elastic to add extra detail around the hand. The cut through the body is also full and loose, making it very easy to wear. I love the double layer of the silk that circles the entire neckline. At the front there are two silk silk ribbons that tie the neck. The collar sits wide across the body and I think if you are very small through the shoulders you might be able to wear it sitting off shoulder as well. It is an amazing. It appears to have been worn very little if at all. Excellent condition.

Unlined and slips over the head to wear. Elastic at the cuffs and it ties at the front. Tagged a YSL 36 but generous cut so should fit a range of sizes.

Sleeves: 26.5"
Shoulders: no true shoulder seam
Bust: 21" flat across from side seam to side seam and widens to 22" at the bottom hem
Length: 23" from top of shoulder to hem

Modern Sizing Equivalent: XS-MED

Item# S991

Reference Photos: Spring 1980 Yves Saint Laurent Runway.

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

I love all of the pieces by Bill Tice that I bring into the shop. Most, including this one, were made in the 1980-1981 time period. His easy-to-wear and glamorous pieces have been worn by countless celebrities for the red carpet and events. Every girl that has bought one of his pieces through me has absolutely loved it. I recently had a black version of one of these long open jackets in the shop and I'm absolutely obsessed with this pretty peach colour. This is such a versatile piece to own.

The jacket is made out of a pretty peach jersey fabric that is meant to mimic the feel of silk jersey. This is one of those things that is a fail-safe piece that you know is going to work every time you put it on. This fabric has the added bonus of traveling very well. It is the kind of piece you can throw into your suitcase and slip on over just about anything upon arrival with either flats or heels and you are instantly ready to walk out the door. It is cut to feel long and slim with pleats running down its full length. It has gold cording that defines the collar, the bodice and back, around the arms and the cuffs. There is also a long stripe of the gold cording that follows the ties that close it at the neck. To wear it you just slip it on and tie it at the neck with those ties. The fabric is very light so when you move it has a ton of movement and will billow out around and behind you. It is fantastic. Excellent condition.

Unlined and ties at the top of the neck. The easy cut and open front should allow it to fit a range of sizes

Sleeves: 22.5"
Slightly inset shoulders: 14"
Bust: to 23" flat across from side seam to side seam
Waist-hips: open
Length: 56" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# DD4370

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

Geoffrey Beene was one of the most awarded designers in the US. There is a currently an exhibit running of his work for the 2023 year titled MOVE: The Modern Cut of Geoffrey Beene. I wanted to share the exhibit notes because they sum his career so well saying 'At his core, Beene was a fashion rebel who ignored trends, instead preferring to design garments that began as geometric shapes and evolved into silhouettes that moved naturally with the human form. His intuitive understanding of the body informed fashions that were unparalleled in their combination of luxury, thoughtful design, and comfort. Beene’s colorful, imaginative creations have been recognized with many accolades, including eight Coty American Fashion Critics Awards and three Council of Fashion Designers of America Awards. His work has also been celebrated through various exhibitions at institutions across the nation.'

This was a favoured silhouette of Geoffrey Beene that he was doing primarily through the late 1980s and into the very early 1990s. When looking through some of the images from the exhibit on his work there were dresses with very similar cuts from the 1990 season. It is a very pretty dress and very striking once on. The bodice is strapless and then it is completely covered in overlapping glossy black sequins at the front. At the back it is the same silk taffeta as the rest of the dress and I love how part of that extends and wraps around to the front just under the bust. This is all attached and adds a beautiful detail that really reflects his work from this time period. The bodice is meant to be fitted and has light boning inside to hold it in place. The top of it dips in the center and peaks slightly on either side to emphasize the bust. The waist is nipped in and then from there the skirt is cut beautifully full to the hem. The silk is all gathered into the waist and this is what helps give it that shape that you see. I love the oversized floral print that covers the silk and how there are these little woven dots running over the very top of the silk. These catch the light differently and are also a subtle nod to his love if dots in his work. Inside there is a black silk lining and the edge of that lining is finished with a sequin detailed lace. This peaks out from below the curving hem of the skirt  and ties all the elements of the dress together. The dress can be worn on its own or with the matching shawl piece that is original to the dress. This extra wide shawl is caught up at each end in an elaborate twisted fabric flower that anchors it and allows it to open between for the volume you see. It can be worn numerous ways and I have photoed some of those here. You could also wear it over the head for a very glamorous look. It is so pretty. Excellent condition.

Fully lined in a fine black silk and closes with a back hidden set zipper. Ribbon finished hem. Light boning through the bodice. The shawl is unlined with no closures

Bust: 17-17.5" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: open
Bodice: 10.5" from top to waist
Skirt: 36" from waist to longest points of hem
Shawl: 100" x 46.5"

Modern Sizing Equivalent: SML-MED

Item# DD4353

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

Arnold Scaasi was born Arnold Isaacs in Montreal and the name Scassi is simply his own surname in reverse. He studied in Montreal and in Paris, apprenticed at the house of Paquin and then worked with the legendary Charles James. In 1964 he opened own couture salon. He dressed Hollywood stars like Lauren Bacall, Diahann Carroll and Elizabeth Taylor. He dressed several first ladies including Mamie Eisenhower, Hillary Clinton and both the Bush first ladies. He even once bragged that he refused to give Jackie clothes for free. He was the man behind the scandalous 1969 Barbra Streisand sheer trouser outfit that she collected her Oscar in, and he was presented with the Council of Fashion Designers of America Lifetime Achievement Award in 1996. The dress is from his main label and these were made to couture standards. It is incredible to see in person.

This great little Arnold Scassi dress is just exceptional. It is so bright and happy in feel. It is just like a burst of joy made into cloth. The fabrics used for this dress are just incredible. The bodice is made from a net that is then backed in silk. The net is done in a variety of bright bold colours and the way the colours are done makes it look like the netting has been painted with this colours. It is quite an unusual and fascinating textile technique. The skirt is made of a silk with the same print screen over it and then the entire skirt was covered in iridescent sequins so that it catches the light from every angle. Most of the fullness in the skirt is created from the fabric choice and the seam work but there is a layer of tulle under there to help as well. The bodice is strapless and the netting has been gathered in all the way around to create long vertical soft gathers. This adds detail and also is how he has shaped the dress to create and highlight the curves of the body. The bodice glides over the waist and then extends past and below the hip. Again a trick to exaggerates your curves. This one came with its original matching belt that you can use to add more shape and exaggerate the curves and pouf of the dress. I love how the top of the bodice is all soft curves and gathers. It is just the most fun. Excellent condition.

Fully lined in a nude netting through the bodice and the skirt is lined with an inner red silk skirt and a layer of red tulle between that and the top layer. Lightly boned through the bodice. It closes with a back zipper. Hand finishes and comes with its original belt

Bust: 16-17" flat across from side seam to side seam
Waist: 12-13.5" flat across from side seam to side seam
Hips: open
Length: 38" from top of the bodice to hem

Modern Sizing Equivalent: SML-MED

Item# DD4343

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

This gorgeous dress is by Bob Mackie who became a household name when he started dressing Cher. The very best of his work is dramatic and opulent and he was a master at print and color. He started off his career freelancing for costumers Edith Head and Jean Louis and it was for Louis that he sketched the design for Marilyn Monroe's famous 'Happy Birthday, Mr. President' dress. He met fellow costume designer Ray Aghayan who would become his life partner and together they designed both costumes and a made to order line of RTW. That led to his incredible journey in designing for stars like Cher and Diana Ross for many years all while building his own self-named label. His work and his creations really helped to defined the entire idea of high glamour on the small screen. His work is incredible and this dress is stunning. I love how it shows his range as a designer beyond his signature beaded pieces.

This is an extraordinary Bob Mackie dress whose twin walked the runway for the Spring 1989 collection. On the runway it was shown with a little beaded Bolero and I love that you could potentially wear it like that by adding your own little jacket. This one came with a matching oversize shawl made of the same silk chiffon and I love it this way just as much but it's always nice to see options. The dress is made out of a brilliant red silk chiffon. It has a surprise though. Under the top layer of the silk of the skirt is a second layer of silk chiffon that is done in a bright true pink. This gives the red a slightly pink undertone and there is also this amazing and unexpected flash of colour when you sit or move. It is a colour combination that is stunning to see together. The bodice is strapless and it has an inner shaped corset that is boned and shaped for support and to stay perfectly in place. The top of the bodice is slightly rounded and then it is notched at the center. Over that the silk chiffon has been gathered and draped so that it swoops upwards and in towards the center seam. The skirt flows out from under the seam of that top part of the dress and it is made up of yards and yards of feather light silk chiffon. There are two layers of the silk as described above with the red on top and pink underneath. All the layers of the silk are feather light and the movement it creates as you move is just incredible. All the silk is cut on the bias. The dress also comes with its original massive matching cape shawl piece. Draped over the shoulders the sides fall down and passed the hem of the dress. You can wear it as a cake and just draped over the shoulder or you could wrap it. This little bit of added glamour and drama just elevates the dress that much more. It is truly one of the best dresses of his that I have seen. Excellent condition with one small note below

The bodice of the dress is fully lined in a red silk. The skirt has an inner pink layer of silk chiffon as described above. The bodice is shaped and and boned inside and has an inner waist stay that hooks to close. It then closes with a back painted metal zipper. Hand finishes. There is a tiny repair to the inner edge of the bodice, a tiny one near the hem and a small mark on the edge of the bodice at the back. Please see the photos after the label shot.

Bust: to 17" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 8.5" from top of the bodice to seam
Skirt: 42" from seam under the bodice to hem

Modern Sizing Equivalent: SML-MED

Item# DD4335

Reference Photo: Spring 1989 Bob Mackie Runway.

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

This dress is by Arnold Scassi and I love the choice of sequin and net that he used for this one. Scaasi worked under Charles James at the start of his career and many of his dressed reflect this early influence. His boutique line was launched in 1984 and was high end ready-to-wear and very expensive. Pieces from it often have a demi-couture level finish and really are an extension of his couture line. This one is especially fabulous and just is one of those pieces that feel joyful to look at.

Yards and yards of a brilliantly coloured floral silk gazar have been used in this Arnold Scassi dress and it is just exceptional. This particular piece is a little extra fascinating because it actually has Bergdorf Goodman tag inside with the exact date this dress this dress was delivered so we know that it was is from 1986. I love that. This dress varies from his usual boutique pieces as it was an obvious special order piece and it has mote the feel and construction of his main couture line. I would get that it was based on one of his ready made pieces, but then was a special order it would've been a one of as far as measurements and perhaps she even changed the design as well. So it was most likely made in his atelier for this specific woman so is half way between his RTW and couture line. The silk used for this dress is just incredible. It is feather light but the gazar has enough structure to it that it holds that beautiful shape perfectly. All the fullness that you see are because if the fabric choice and the seam work and yet it sill moves and floats around you effortlessly once on. It is strapless and on the bodice the silk has been gathered over to one side. This adds detail and also is how he has shaped the dress to create and highlight the curves of the body. The bodice glides over the waist and then extends past and below the hip.Again a trick to exaggerates your curves. The skirt is set into the seam there and it has a wonderfully full feel. When you walk the movement that this creates is exceptional. It is as good inside too. The innermost skirt is made from layers of a fine green silk with a broad band of horsehair taping inside the bottom hem of both the exterior skirt and the inner silk lining to help hold the volume. Between those layers is a third layer whose bottom is finished with layers of silk net tulle. It is just exquisite. Excellent condition.

Fully lined in a fine green silk organza and the skirt is lined as described above. Lightly boned through the bodice. It closes with a hidden set side zipper. Hand finishes

Bust: 16" flat across from side seam to side seam with room to a B or small C cup at the front
Waist: 13.5" flat across from side seam to side seam
Inner hips: to 20" flat across from side seam to side seam
Length: 52.5" from top of the bodice to hem

Modern Sizing Equivalent: XS-MED

Item# DD4314

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

Arnold Scaasi was born Arnold Isaacs in Montreal and the name Scassi is simply his own surname in reverse. He studied in Montreal and in Paris, apprenticed at the house of Paquin and then worked with the legendary Charles James. In 1964 he opened own couture salon. He dressed Hollywood stars like Lauren Bacall, Diahann Carroll and Elizabeth Taylor. He dressed several first ladies including Mamie Eisenhower, Hillary Clinton and both the Bush first ladies. He even once bragged that he refused to give Jackie clothes for free. He was the man behind the scandalous 1969 Barbra Streisand sheer trouser outfit that she collected her Oscar in, and he was presented with the Council of Fashion Designers of America Lifetime Achievement Award in 1996. The dress is from his main label and these were extremely well made pieces. It is so dramatic and in being so also so very Scaasi.  He himself once said 'I am not a minimalist designer! Clothes with some adornment are more interesting to look at and more fun to wear.'

You can easily see the influence of Arnold having worked for Charles James in this piece. The lines are dramatic and yet elegant. The silk is that incredibly rich feeling silk that drapes and sits beautifully. The dress is strapless and is gathered from there to just past the hip. The gathers are all held in place along the side and this brings in the cut so that it follows and highlights your curves. The skirt is set under that and the seam is done on a slight angle to add visual length to the dress. On the opposite side that seam extends down and into a deep point to give the body length there as well. The skirt is quite full and the shape and volume that you see is held by the inner construction which is quite amazing. The innermost layer closest to you is a fine black silk that is finished at the hem with a broad inset band of stiffened netting so that the shape is kept. Over this lay four full layers of tulle netting and then the outermost layers sits over all of that and even that top layer is self-lined in a black silk organza. The final perfect touch is that extraordinary ruffle that is set along the side and runs down the front all the way to the bottom of the gathered bodice. The ruffle is black on one side and then the other is finished in a shocking pink silk. This unexpected shock of color is fantastic. I have placed it to one side but the dress is so well made that you could wear it almost anyway around and just change where the zipper sits and the back or sides.Excellent condition.

Fully lined in a fine black tissue silk. The bodice is lightly boned on the ruffle side and it closes with a back metal zipper on the opposite side. The inner skirt construction is described above. Hand finished throughout.

Bust: 17" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Bodice: approx 18" from top of bodice to dropped seam
Skirt: 39" from dropped seam to hem with 4" turned under the top layer

Modern Sizing Equivalent: SML-MED

Item# DD4305

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 by Arnold Scassi and I love the choice of sequin and net that he used for this one. Scaasi worked under Charles James at the start of his career and many of his dressed reflect this early influence. His boutique line was launched in 1984 and was high end ready-to-wear and very expensive. Pieces from it often have a demi-couture level finish and really are an extension of his couture line. This one is especially fabulous and just is one of those pieces that feel joyful to look at.

This gorgeous little dress is constructed from multiple layers of feather light black tulle net that has hundreds of sequins sewn onto the very top layer. The sequins absolutely bring the dress to life. They are a mix of red, green, blue and gold and cover every square inch. The light bounces beautifully off them as you move. The top netted layer sits over multiple inner layers which is what gives the dress the volume that you see. The dress is strapless and the bodice is kept simple so the sequins take center stage. It is gathers down one side and the seam at the bottom is set on a sharp angle that dips down very low on one side. The skirt explodes out from that seam and that angled cut of the bodice is followed by the angle of the hem as is cascades towards the floor lower on one side. There are yards and yards of fabric in the skirt. Under that very top sequin embellished layer is another layer of tulle, then two layers of a stiffened netting and an inner black silk layer beside your skin. A flower made of the same black netting and sequins, with a black bow on top, sits on the one hip for the final perfect touch. It is fabulous and just a joy to see and wear. Excellent condition with a note below. 

The skirt is fully lined in layers as described above. The bodice is lined in a black silk with interior boning. The dress closes with a side zipper. The occasional missing sequin here and there but no large bare spots. There is a touch of patina on the sequins here and there.

Bust: 17" flat across from side seam to side seam
Waist: to 13" flat across from side seam to side seam
Inner hips: to 22" flat across from side seam to side seam
Bodice: 12" from top of bodice to waist
Skirt: 27" from waist to shortest part of the hem, approx 40" to the longest

Modern Sizing Equivalent: SML-MED

Item# DD4304

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

Loris Azzaro launched his label in 1967 and his trademark look soon developed. He became know for his extravagant use of colour, beading, sequins and avant garde ways of defining the body. Some of the most beautiful women in the world wore his clothing including Marisa Berenson, Raquel Welch, Jane Birkin, Sophia Loren, Brigitte Bardot and Tina Turner. It was a label that defined sexiness and had a certain French flare that women world-wide loved. By the eighties he was experimenting with volume and proportions and new cutting edge fabrics. This is a wonderful example of his work during this time period. We found a reference photo of an Azzaro dress with a very similar shoulder treatment and I think this one is even better.

This dress is nothing short of a bold and dramatic statement piece. The bodice is hand draped into soft rounded gathers over the bust. They continue all the way down under the bust to follow the curve of the body all the way to just below the hips. For this part of the dress he used a black stretch jersey that gives the dress it's fitted shape but also keeps it comfortable to wear. Inside the dress is one of his signature strapless underwire bras and this has been sewn into the dress for added support and shape. The top edge is shaped into a low sweetheart curve and the gathers are set to run horizontally down the body. Hand set vertical seams are tacked into place at points all the way around you to give the gathers a slight scooped feel and add length to offset the horizontal lines. It also keeps the gathers from adding bulk. Under that the skirt is set low and i is made out of a black textured silk that has a metallic finish. This is set over several layers of built in under skirting to help give and hold the volume you see in the skirt. On each outer side the panels of the skirt slightly lift up and away from the dress. To tie this into the top, the same fabric and swooping line is used to create that sweep of fabric on the one side of the bodice. I love how this flares out up and over the front portion of the shoulder. It is fabulous. Excellent condition.

Fully lined in a black silk with a built in bra though the bodice that hooks to close separately. It closes at the back with a painted metal and nylon zipper. The interior bodice is boned. Layers of tulle and silk underskirts under the low set skirt. The flame/fan detailing on the bodice has wire inside to hold it up. It would be easy to add additional wire or stiffening inside if you wanted it to really hold even taller then it does now. Hand finished throughout

Bust: to 16.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam and the inner waist stay hooks slightly smaller then that
Hips: to 17" flat across from side seam to side seam
Length: 52" from top of bodice to hem

Modern Sizing Equivalent: XS-SML

Item# DD3680

Reference Photo: Model in Loris Azzaro, L'Officiel No. 734, September 1987.

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 dress walked the runway for the Fall 1987 show and I love having a runway shot of it for you so that you can see how fabulous it is on the body. We even found one where you can see the model walking back down the runway so you can see how gorgeous it is from the back as well. This has always been one of my favourite dresses ever since I first saw the catwalk photo and I am so pleased to have one in the shop.

This is a fantastic dress. It is made from a stunning metallic lace that has a blue-purple colour running through it. Over that are thousands of glossy black sequins that are placed onto the lace to follow the pattern underneath. I love how these sequins catch the light from every angle and add a bit of glitz to the dress. The lace is open cut work all through and to make it not completely see-through Yves lined it with a deep blue silk chiffon. That said when this is on it definitely has a touch of transparency to it. Personally I love that about the dress. The dress is cut to sit off the shoulder for a bare expanse of skin. The neckline is finished with a black silk organza ruffle and this choice of fabric gives a just a touch of stiffness so the ruffle holds its shape around you instead of just flopping. The sleeves fall to just passed the elbow and each is finished with a ruffled cuff. The dress it is cut skim over you. It runs over the bust and past the waist with no seaming there to break the line. At the top of the hip there is a seam that has another flounce of ruffles. The skirt falls under that and widens out quite a bit. The bottom hem is also finished with a ruffle edge and I love that the back of the skirt is set to hang longer than the front. This gives you a beautiful curve from the side and also allows the skirt to have attach more volume than it would otherwise. It is just a fabulously gorgeous dress and really showcases Yves' innovative eye and design genius. It appears to have been worn very little if at all. Excellent condition

Fully lined in a dark blue silk chiffon. It closes at the side with a zipper. Tagged a YSL 42. It looks to have been worn very little if at all.

Sleeves: approx 18" from the drop. 12" around the upper arm
Bust: to 18" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Seam across the top of the hips: 19.5" flat across from side seam to side seam and open under that
Length: 30" from top of center neckline to front hem and 36" to back hem including top and bottom ruffle

Modern Sizing Equivalent: SML-MED

Item# DD4271

Reference Photo: Fall 1987 Yves Saint Laurent Runway.

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

Vicky Tiel was backed by Elizabeth Taylor as a young designer after working on the costumes for 'Whats New Pussycat'. After a stint with a partner she launched her self named label in Paris in 1970. She as one of the very early boutique owner/designer that offered a ready-to-wear option in Paris. That said, her clothes often walk a fine line between ready-to-wear and couture in terms of their construction and techniques used. By the mid to late seventies her style had developed into the ultra sexy and feminine clothing that she is now known best for. By the eighties and into the nineties, she had a cult celebrity following. This is a stunning example of just how gorgeous and dramatic her work could get.

This is a spectacular two piece set in a ivory silk. It is an early example of Vicky Tiel's talent and ability to work and tailor a pieces while working with very fine fabrics. I love the versatility of having the two pieces. It means that you can mix and match them with existing pieces. The colour of the set lends itself to be a great piece for a potential court or more casual wedding or any other great event. Both pieces very light in weight and the silk is very fine. The skirt is a masterpiece. It is banded at the waist and then there are two tiers of fabric under that. The top tier is completely and meticulously pleated with tiny precise knife pleats. At just about the knee the second panel creates a more ruffled feel to the hem. The pleats on the bottom tier open out as they near the hem. The skirt has a lot of fabric and can be worn with or without a crinoline. I have photoed it both ways so you can see the fullness you can achieve. The jacket has a strong nod to the Victorian era with those amazing puffed shoulders. Each shoulder is very full at the top and then narrows down to the wrist. The waist is nipped in and below that is a feminine little hip peplum. The collar is neat and rounded and it closes with a series of silk covered buttons down the front. It is just a gorgeous little set. Excellent condition with a small note below.

Both pieces are unlined. The jacket closes with silk covered buttons down the front and the skirt closes with a side zipper and flat hook & eye at the waist. Light padding in each shoulder. Hand finished throughout. I see one mark on the skirt and a very tiny one on the top. Please see the two photos after the label shot. It is slightly creamier in colour in person.

Top
Neck: 16" around
Shoulders: 15" across
Sleeves: 25" long
Bust: to 18" 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: 12-13" flat across from side to side
Hips: open
Length: 29" from waist to hem

Modern Sizing equivalent: XS-SML

Item# DD4211

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 Capriccio label was founded in 1987 and they quickly grew in popularity. During the late 1980s and early 1990s they were the brand to wear and they were known for their historically based designs with the added volume and excess of the eighties. Some of the Capriccio stores had an in-store area where you could get custom pieces in silks and based on the rest of the pieces from the estate I have been working through lately this may be one of those. It is incredible and it would make an amazing wedding dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. And of course it could also be worn to any event. It is just so spectacular. 

This is actually a set and I love that about it because it makes it that much more versatile. You can wear it together for the full on effect or mix and match either with simpler pieces from your wardrobe for an entirely different feel. I also think there is the possibility that the top could be worn as an ultra-mini depending on how it sits on you. Both pieces are made out of a tea stain feeling coloured silk organza. This fabric choice helps to keep the volume and shape that you see. It also keeps both pieces extremely light in weight. The top is spectacular. It is cut so that it skims down and past the hips and has a back and front draped panel at the center that extends down over the skirt. It is shaped through the waist by the way that the fabric is formed and gathered into the middle. Pin tuck detailing runs from the collar to that panel on both the front and back. Elaborate floral appliqué work adorns the entire front and details part of the back. The collar is high and the top is cut to skim over the bust. The sleeves pouf out dramatically and are caught up with a little clusters of lace appliqué and beadwork. This gives them that extreme full volume feel but they still have a sense of  shape and detail. The lower portion of the sleeves are gathered all along the lower arm to the wrist. Each is then finished with appliqué work all the way down. The skirt below that has incredible volume and fullness. It is cut to be more fitted over the top of the hips and then opens out to that incredible volume that you see. When laid out flat the lower portion under the hips is a full circle skirt. Depending on your height it will be full length or fall to just about the ankle. The amount of detailing on this piece is fantastic. This may not be a piece for everyone but on the right person this is going to be unbelievably spectacular. It appears to have been worn very little if at all. Excellent condition

The top is made from a double layer of the organza and the skirt has an inner cream silky rayon lining. The top slips over the head to wear with pearl buttons at the back of the neck and on each cuff. The skirt closes with a zipper and flat hook and eye at the waist. Rolled padding on the very edge of the inner shoulder to help support the volume. The top is tagged a size small and the skirt a medium. You could get a little more room on the neck by moving the buttons probably up to 1/2-3/4" depending on where you place them.

Top
Sleeves: 23"
Slightly extended shoulders: 16"
Bust: to 19" flat across from side seam to side seam
Waist: to 17.5" flat across from side seam to side seam
Hips: to 26" flat across from side seam to side seam
Length: 36" from neck to longest point at the front and approx 28" to the sides.
Neck: 15" around

Skirt
Waist: 14" flat across from side seam to side seam
Seam at the hips: 18" flat across from side seam to side seam
Length: 42" from waist to hem

Modern Sizing Equivalent: SML-LRG

Item# DD4198

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 dress walked the runway for the Fall 1982 show and I love that we found photos of it for you so you can see just how spectacular it is one and how the sleeves sit once on a body. This silhouette with its dramatic sleeves and full skirts was an important element for that season. It is just a stunning example of one of his most recognized looks.

The dress is made from a combination of two of his favorite fabrics, silk taffeta and silk velvet. These became signatures of his and ran through his collections from the start of his career to the finish. It is a stunning piece. The top is cut to skim over the bust with a scooped neckline at the front. It is seamed at the waist and then extends down over the top of the hips. There is an attached silk taffeta sash that wraps around the waist and cinches you in for added shape and detail at the waist. The sleeves are full with a beautiful sweeping cut that starts at the shoulders and remains full to just past the elbow. At that point the fabric changes to to a velvet. Four glossy dome buttons  detail the lower part of the sleeve. These are meant to be pushed up slightly to exaggerate that pouf of the upper sleeve even more. The skirt falls from under the velvet and it is beautifully full. The photos do not really do the amount of fabric in the skirt full justice. I love that under the top purple layer of silk there is a lining finished in a coral red silk taffeta. You don't see that inner layer when you are standing, but when you sit or move just right, you get that extra flash of color. It's a small detail that I am obsessed with. The fabric choices helps keep the intended shape and volume. Pieces by Yves from this time period have become an important piece of fashion history and having documentation like this one has makes it that much better. Excellent condition.

Fully lined through the bodice in a black silk satin. The skirt is lined in a deep red silk taffeta and the sleeves are unlined. It closes at the side with a metal and nylon zipper and each cuff buttons to close. The sash is attached at the back. Slight flattening to the velvet here and there along the waist seam that is covered by the belt once on. Tagged a vintage YSL 40.

Sleeves: 29"
Shoulders: 15"
Bust: 17.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 17" from shoulder to waist
Skirt: 43.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD2856

Reference Photos: (1-2) Fall 1982 Yves Saint Laurent Runway.  /  (3) Alice Englert wearing this dress for Harper's Bazaar, 2023.

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

There are hints of this dress from both the 1986 collection and in the 1988 collection. The original owner did buy it in the 1980s but I do not have the exact day. I tend to lean towards the earlier date for it but I have included reference photos from both the above mentioned collections. It is a stunning example of Valentino's work during this time period.

The dress is beautiful to see in person. It flows over the body from the more fitted bodice and the lightness of the silk allows it to move and float around you when you move. The bodice is a stunning example in shaping and couture techniques. Inside it is boned and has built in cups. This interior structure holds it perfectly in place over the body once on. On the exterior the silk is hand set and gathered over the bust and all the way around you. Each individual gather is meticulously hand stitched into place. Above this more structured part of the dress is a single layer of the chiffon. At the front it scoops in a higher set neck and at the back it is set with a keyhole running down to the top of the gathered bodice. The skirt flows out under that in four layers of the silk and each layer is bias cut. This is what allows it to have such beautiful movement when you move. The final touch are those pretty sleeves that are cuffed at the wrist and pouf out around the arm above that. It also has its original very large silk shawl piece. It is beautiful. The dress does have some flaws but is structurally sound. Please review the notes below.

The interior bodice is finished is boned and corseted. The skirt has four layers of silk as described above. The interior corset closes with hook and eye and the silk layer zips to close over. Each cuff buttons with two silk covered buttons and loops. Three buttons at the top of the back neck. There are areas of fading through the skirt that go through the layers. I have photoed the worst of them. There are some faint areas of the same on the silk above the corset and on the sleeves. I see one tiny repair near the hem at the back of the skirt. It comes. I think you could potentially remove the sleeves and upper bodice and use the shawl to create a layer over the worst of the fading or just have it redyed and it would be perfect again. Sold as found and final and the price is according to the description above

Sleeves: 25"
Shoulders: 15"
Bust: 17.5" flat across from side seam to side seam
Waist: 16.5" flat across from side seam to side seam
Hips: open
Bodice: 16.5" from top of neck to interior waist stay
Skirt: 45" from interior waist stay to hem
Shawl: 54" x 52"

Modern Sizing Equivalent: MED-LRG

Item# DD3018

Reference Photos: (1) From the book "A Grand Italian Epic, Valentino", 1988/1989 collection  /  (2-3) The "Degradè" Dress from the Valentino Haute Couture 1986 collection. (4) Cherie, Owner of Shrimpton Couture, by Erin Leydon taken on location at JohnMel Stables 

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

Fall 1983 marked the first fall ready-to-wear collection that Karl did for the label. So any piece from this first year is now a part of fashion history. This first year was instrumental to what Chanel was to become as a brand. He pulled inspiration from the twenties and thirties, something he continued to do throughout his career, and mixed it with that classic Chanel feel. He said at the time 'Even if she never did it this way, it’s very Chanel, no?'.... We were very excited to find the reference shot included here that has a variation of this dress made in a black lace. Documentation on these early collections is rare. It is absolutely gorgeous in person

This Chanel dress is so good. It is also a rare piece from Karl's first year at Chanel which adds to its collectability. The cut of the dress is timeless. The dress is made from a layers of black bias cut chiffon. The layers float over each other and play on transparency of the fabric. The bias cut makes it incredibly comfortable once on the body. The fabric is light in weight but with enough substance to hold the that wonderful curved shape that you see. The bodice skims over you and has a V neckline. The neckline is edged in a black satin ribbon. I love the little bow that sits at the base of the V for a very Chanel feel. The back is also dips into a V but there it is cut shallow and wide so that it sits higher up on the back of the neck. Attached to the ribbon edging of the neckline is a silk chiffon caplet that cascades all the way around you. It falls over each arm and drapes down the back to the waist. When you move even the slightest it moves with you for a pretty effect. The waist is seamed and cinched. The skirt falls under that and is cut to follow the curve of the hips. I love the little slant pockets that edged in the same black silk ribbon. These sit on each side of the hip. At about the knee the skirt flares out in a dramatic expanse of silk chiffon. More silk ribbon is set to separate the lower skirt and this last bottom part flares out and around you. It has a more transparent feel to it since it is only layers of chiffon.  When you walk the movement it creates is incredible. The final perfect touch are the little satin covered buttons that run all the way down the back and the final flat little flat blow at the base of the ribbon detailing. Beautifully constructed and it looks to have been worn very little if at all. It is an amazing example of Karl's very earliest work for Chanel. Excellent condition

Fully lined in a matching black silk chiffon and it buttons to close at the back. It is tagged a Chanel 42. I see a repair along the hem. The bias cut fabric does have some give between the ribbons.

Bust: to 17.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: 17.5" flat across from side seam to side seam
Bodice: 17" from top of shoulder to waist, and does come up a bit once on
Skirt: 41" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3867

Reference Photo: Fall 1983 Chanel.

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 tough one to date as the label style that is in it covers the period from the 1980s to the early 1990s. It is most likely from the time period when Karl Lagerfeld was the designer for the Chloe label but could potentially be Martine Sitbon. Karl designed for them from 1965 to 1983 and then Sitbon took over from 1987 to 1991. In 1992 Lagerfeld again headed the design team until 1997. Either way this is a rare find and I look forward to sending the new owner verification when I confirm one way or the other one day as I am sure I will stumble across it at some point. The dress is fantastic even beyond that question and I am obsessed with it.

The first thing you will notice about the dress is that it is as light as air. It is made from a feather light silk organza that has just enough crispness to it to hold the shape but that adds as little weight as possible. It also has this ultra fine finish that gives it a bit of a liquid look but in a subtle way. It is quite a remarkable fabric actually. The dress is strapless and the bodice is gathered into soft draping pleats that are gathered in and held in place down the seam on both sides, the back where the zipper is and down the front. There is no added inner foundation and just light boning down each side. It simple drapes over your body and your coverage is provided by the gathered top layer of gathered fabric and the opaqueness caused by a single inner layer of black silk. The gathers run from the top of the bodice to just below the hip. The seam that ends at the hip is softly curved as it is gathered in and up towards the center. The skirt falls under that to the floor and it is also made from a double layer of the silk. The two layers of the skirt float over each other and will move with your slightest movement. Attached at the center of the bodice is a wide sash of fabric that is shapes into a big soft bow. From that bow there are long ties that extend down to softly fall over the front of the dress. This adds so much detail and volume and I love it. The fabric has a touch of transparency to it and with the double layer of the silk there is a depth created by the layers sitting over each other that is fantastic. It is a beauty. Excellent condition

The second inner layer of the same fabric n the skirt acts as the lining and the bodice is lined in a black silk. It closes with a back set zipper.

Waist: 14" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 53" from top of bodice to hem

Modern Sizing Equivalent:

Item# DD4076

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

Loris Azzaro launched his label in 1967 and quickly defined his trademark looks by using ornate fabrics and avant garde ways of defining the body. Some of the most beautiful women in the world wore his clothing including Marisa Berenson, Raquel Welch, Jane Birkin, Sophia Loren, Brigitte Bardot and Tina Turner. It was a label that defined sexiness and had a certain French flare that women world-wide loved. By the seventies and eighties he was experimenting with volume and proportions and new fabrics that at the time were all cutting edge. This is a stunning example of his work during the late seventies, early eighties period. An all sequin version of the dress was worn by the French-italian singer Dalida that same year. This is a label that I really love and am always happy to find pieces of.

This is a killer dress. It is really one that will come to life once on an actual body and I hope the photos convey enough of how fabulous it is because when worn this one will be even better. The entire body of the dress is made out of a black ribbon finish with silk organza ribbons set on to the base in a curving design done to suggest flowers worked through it. Each flower design is finished with a series of curved and looped rows of glossy black sequins. This covers you from where it sits in a curving sweetheart neckline above the breast down to the top of the hips.  Where it meats the skirt it is cut on an angle, which softens the line and adds shape. This part of the dress is entirely opaque and shaped to give you curves. He then used a silk chiffon over the top of the chest and down the back where it dips into a low scoop. An open keyhole runs down the back for a hint of skin. Each sleeve is cut to be wide and full and the chiffon lets you have a glimpse of your arm through it. The cuffs sit under all that volume and they are done in the same ribbon lace and sequin fabric as the bodice. The rest of the dress is made from a bias cut silk chiffon that sits and drapes beautifully around you as you move. It falls from under the bodice and is pretty amazing in its own right. There is an under skirt that acts as the lining and then panels of silk fall to the hem that are only attached around and under the body of the dress. This gives them complete freedom to move so when you walk the panels will float and move around you with the slightest bit of air. It is really gorgeous. The inner skirt underneath keeps it from exposing everything but at the same time does give a suggestion of leg. If there was ever a dress that needed a body inside of it to bring it to life, this is it. It is stupendous once on. Excellent condition

Fully lined through the body and the rest is as described above. It closes with a back set zipper and then a black jet button at the back of the neck. Each sleeve has three jet buttons and loop closures. It appears to have been worn very little if at all

Sleeves: 24"
Shoulders: 14"
Bust: 16-17" 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: 56" from top of shoulder to the hem

Modern Sizing Equivalent: XS-SML

Item# DD4040

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 the Fall 1984 Haute Couture runway and was worn by supermodel Kirat Young. It was also photoed that season for what I believe was an editorial shoot. I have included those reference photo here for you so that you can see how amazing it is on the body. Emanuel Ungaro launched his label in 1965 after working for both Balenciaga and Courrreges. He was a brilliant designer who was known for his of extravagant fabrics and flamboyance. His Haute Couture pieces are not easy to find and this set is stunning and even better in person 

I always love a set because of the versatility you get with one. You can wear these together as shown or wear the dress on its own and mix the jacket in with pieces you already have. The dress is particularly amazing. It is cut in that signature Ungaro silhouette for this time period. He made these dresses to hug and highlight every curve of your body. The dress is made out of a silver silk velvet that has a metallic silver and gold foil worked through the fabric. This gives allows it to catch the light from every angle but it feels subtle and not garish. The fabric is hand draped and stitched to give it an incredible soft pleated texture. The bodice has a highly modified sweetheart shape with one side set at a high peak and the other in a soft curve. The gathers are shaped to follow the line of the bust and emphasize the breasts. On the side that it zippers to close on there is a strip of hand applied beads and sequins that run down the full length of the dress for extra detailing. The jacket is made from an ivory lace that is hand applied over an ivory silk. Onto the top lace layer is a mix of embroidery work, little silk appliqué pieces, rhinestones and faux pearls. The shoulders are padded and the top of the sleeve is gathered around the shoulder so you have fullness there. They narrow from there to the wrist. The waist is brought in and shaped with vertical seaming and the hips flare out dramatically. There are no closures on the jacket, it is meant to just slip on and sit over the dress. It is finished with a dramatic Ostrich and silver foil feather border that that wraps around the neck, down the front and all the way around the hem. Both pieces are completely made by hand and the proper Haute Couture numbered tape is present. It’s gorgeous. Excellent condition

The dress is hand lined in a ivory silk and closes with a hand set side zipper. The bodice is boned. Interior waist stay hooks to close. The jacket has no closures. Padding in each shoulder. I see minor marks on the interior lining of the dress and perhaps a slight grubbiness to the inner arms of the jacket. Please see the last photo after the label shot.

Dress
Bust: 16.5" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Bodice: 9" from top of bodice to waist
Skirt: 25" from waist to hem

Jacket
Sleeves: 23"
Slightly extended shoulders: 16"
Bust: to 20" flat across from side seam to side seam
Waist: approx 14" flat across from side seam to side seam
Hips: approx 19" flat across from side seam to side seam
Length: 32" from neck to hem, including the feathers

Modern Sizing Equivalent: XS-SML

Item# DD3367

Reference Photo: (1) Fall 1984 Emanuel Ungaro Haute Couture. (via @only_french_couture).  /  (2-6) Fall 1984 Emanuel Ungaro Haute Couture Runway Show. Model: Kirat Young.

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

Bill Blass launched his label in 1970 when he bought out the Maurice Rentner label and re-launched it under his own name. Blass was arguably one of the most famous of  the American designers. His forte was the ability to mix simple styles with luxurious materials and his evening wear in particular seemed to have a way of flattering the wearer. He knew how to walk that line perfectly. This is a gorgeous example of his work and I love that I can date it based on the very similar one that was used the a Vogue shoot that year. It gives you a better idea of how it will look like once on a body.

The dusty pink mauve coloured sequins that cover that entirely this dress are so densely applied that they actually overlap one another. There are hundreds of thousand of sequins used and it is incredible. Mixed in with those is a band of gold beads that wrap around the hips. This is set around the on one side and widens out over the hip and then narrows to a point where it meets the low set waist seam. Another triangle feeling band sits at the hem of the skirt on the opposite side. This time done in silver sequins. It is cut in that fabulous eighties big volume on top over a fitted skirt. The shoulders are strong and padded for shape. The neckline is scooped and the sleeves are long. The bodice is cut long and it is meant to blouse out over the skirt. Inside there is a silk lining in that same purple and then the sequin fabric is also lined in silk. It buttons down the back and you get a tiny glimpse of skin between the buttons. The sequins catch the light at your slightest move and its fabulous in person. Excellent condition.

Fully lined in silk with a low set inner zipper at the waist and a series of buttons down the back. Padding in the shoulders, It is meant to be oversized at the top so the hips are the most important measurement to consider.

Sleeves: 22"
Shoulders: 14.5"
Bust: to 19" flat across from side seam to side seam
Natural waist: open
Seam at top of skirt: 15.5" flat across from side seam to side seam
Hips: 17.5" flat across from side seam to side seam
Bodice: 19.5" from top of shoulder to seam at top of skirt
Skirt: 22" from waist to hem

Modern Sizing Equivalent: XXS-XS

Item# DD3953

Reference Photo: (1) Models in Bill Blass, Vogue, October 1982.  /  (2-3) Fall 1982 Bill Blass Collection. Model Alva Chinn.

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

This gorgeous little dress is the ready-to-wear version of the Haute Couture dress that Yves created. I have included the runway photos of the couture version that walked the runway and that was featured in an editorial that year so that you can see how the dress looks on. The ready-to-wear version is a slightly simplified version of it but otherwise looks remarkably the same. He often did this with a few select pieces from his collections so that his non-couture clients had access to his work as well. The 1987 collection is one of my all time favourites and I am very pleased to have this wonderful example from it in the shop for you.

If you are a Yves Saint Laurent fan the second that you saw this dress you would have known that it was his work. This was a definitive look of the Couture collection and I love that he made a ready-to-wear version. I am also glad I have reference photos for you because if there was ever a dress that needed be seen on a body this is it. It really is not being done full justice on my dress form but it is gorgeous on the body. The dress sits off the shoulders to leave a bare expanse of skin. The sleeves are cut to follow the arm to just past the elbow. A pretty chiffon ruffle edges the entire neckline and then another ruffle curves around each wrist. The bodice skims over the bust and comes in at the waist. Under that the skirt flares out dramatically and is quite full. The front of the skirt is cut to the knee, or just above depending on your height, and then the edges of the skirt curve down and around to a full length at the back. The fullness and the length change give it a ton of movement when you move. The fabric is a segment in itself. It is made from a black silk net backed by a black silk tulle. Then onto the top net layer is a design made of black raffia. This gives the dress an incredible texture and the raffia catches the light fantastically. It also means that the parts of the dress that are not lined have a touch of transparency which is very sexy. This is an incredible piece of Yve's history and an absolutely gorgeous dress. Excellent condition with a minor note to review below 

Lined in a layer of tulle as described above and then there is a inner lining though the bodice and to just past the hips that is made out of a gold nude toned silk chiffon covered in a layer of black silk chiffon. It closes with a side set zipper. The raffia has small breaks in it here and there. I have never seen a vintage piece with raffia detailing that does not do this as it ages. It is inherent to the material and normal wear. 

Sleeves: 18"
Bust: 18" flat across from side seam to side seam
Waist: 12-13" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam before it flares out
Length: approx 35" from natural shoulder to front hem, 52" to lowest pint of the back hem

Modern Sizing Equivalent: XS-SML

Item# DD3888

Reference Photos: (1-2) S/S 1987 Yves Saint Laurent Haute Couture Runway Show.  /  (3) Brynja Sverrisdottir in S/S 1987 Yves Saint Laurent Couture. Photo by David Bailey.

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

This is from my same client whose aunt purchased from Ady Couture who I explained in depth in this listing while she was living in Switzerland during the eighties and into the nineties. Prior to that, during the late sixties and into the early 80s her aunt lived in both France and Brussels where she purchased pieces from Louis Mies. Mies was a small independent couturier who did custom work for his clients to couture standards. He designed many piece for the Queen of Belgium and like Ady, he had permission from several of the Haute Couture ateliers to produce their Haute Couture pieces using the patterns and buying the fabric directly from them. I have some new information that he might have sold actual couture pieces through his salon as well. I was not able to find any exact references for this one. It does bear a striking similarity to the 1977 Valentino couture collection pieces and I have included some if those iconic photographs here. Most likely this would have been one of Mies own couture designs. It is absolutely unbelievable in person and one of my favourite personal pieces from her estate so far. 

The level that this dress is made to is a beautiful thing to see. All of the finishes have been done by hand and it has all those lovely details that you expect in a couture level garment. It is made out of a fine black silk taffeta and then parts of the design are edged in a beautiful black Chantilly lace. These fabric choices help it to hold its intended shape and give it the lovely volume that you see. The dress has weight to it but it is not overwhelming once on the body. There are so many yards of fabric used in the construction of this gown that it is mind boggling. The neckline is cut wide across so that it sits off the shoulder. This leaves that bare expanse of skin showing that balances the volume of the dress below. It top is very elaborate. There is a six inch cape feeling ruffle that wraps all the way around your shoulders. This was then edged with a 3.5" band of that stunning handmade black lace. Under that the sleeves are set to peek out to give the illusion of a double cape detail but they are actually true sleeves. They are cut very wide and full and each is also edged in the lace to give the bodice a tiered effect on each side. The actual bodice skims loosely over you and there is a black velvet bow at the centre of the neckline. The waist comes in for shape and I added a grosgrain ribbon to pick up on the bow at the neck and define the waist more. The skirt is a masterpiece. It curves out from the waist and falls to the floor where it widens out even more as it nears the hem. It is made up of three full layers. Inside the skirt is a full built in black silk under-skirt that has wide bands of stiffened netting at the hem and part way up the skirt to help hold the volume. Little ruffles run along the seams of this lining where it is pieced together despite the fact that no one would ever see them. The next layer is an exterior one and it is also made of the black silk taffeta. It has two ruffled tiers at the hem, each of which is edged with the black lace. Where the tiers start near the bottom there is another built in band of netting inside to hold the volume on this layer as well. Then the top taffeta layer falls over those two layers. It is cut to end just above top tier of the middle layer. It curves up at the front to meet the seam at the waist and the lines this creates are gorgeous. The final result of all these tiers and layers is incredibly beautiful. The hours of work that it would have taken to implement the detailing on this dress is mind boggling. The dress is made to couture standards with all the inner seams finished by hand. I have included a shot of one of the inner seams for you to see. It is extraordinary and the kind of quality and beauty that you will only find with vintage. It appears to have been worn very little if at all. Excellent condition with one note below

Fully lined through the bodice in a black silk and constructed as described above. There is a built in black silk taffeta inner skirt. It closes with a painted metal zipper at the back. The inside is all hand done and it is finished to couture standards. There is a couple small repairs / tiny holes on the ruffle on the neckline. There is so much fabric they get lost in the folds. Please see the final shot after the label. It otherwise looks unworn 

Bust: to 19.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of natural shoulder to waist
Skirt: 43" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3882

Reference photos: Valentino campaign 1977 shot by Deborah Turbeville

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