This set is from the same Haute Couture collection as the linen jacket I also have listed in the shop. It is also from the same private collection coming to me from the daughter of the original Couture client. The look for the 1981 season, according to the book, 'Dior, Catwalk' was easy, flowing styles .. "the dresses often have short puffed sleeves and are scattered with cheerful motifs....Bohan has created styles that not only uphold the honor of couture but can be worn comfortably as well"

The attention to detail shown in every stitch is breathtaking. It is entirely done by hand and the silks used are of the highest possible grade and are as fine and light as a feather. The top is done in a silk chiffon that has a ribbon finish to it that adds pretty texture. It floats over the torso for an easy fit. It is unlined, which makes it semi-transparent. It has a finish of pleats that run down the front for a pretty detail. This makes the floral pattern that covers the silk even more interesting as it peaks through and over the pleats. The sleeves are short and puffed as the collection was noted as having. The skirt is a neat pencil and falls in a column of perfectly cut silk. The same pretty floral pattern is continued over the silk of the skirt and it feels just a touch deeper in tone since the fabric there is opaque. The skirt wraps over itself and hooks & snaps to close. There are even pockets on each hip. It is truly a wonderful example of Couture during this time period and when you see it in person you will be astounded at the level of craftsmanship and care put into the construction. Excellent condition with one minor note below.

The skirt wraps and hooks and snaps to close. It is hand lined in an ivory silk. The bodice is unlined and closes down the front with the buttons and then snaps nearer to the bottom. You could move the hooks and snaps at the waist of the skirt to adjust the fit a bit up or down as required. There is one very faint spot on the tip of the collar of the top. I photoed it and you can review that photo after the label shot. The color in person is a pure ivory with no yellowing to the fabric - any you see in the photos is from the lighting only. It is completely made by hand as the parameters of Haute Couture dictates. Proper Haute Couture label present in the top. Numbered 13660

Top
Slightly inset shoulders: 13.5"
Bust-Hem: to 19" flat across from side seam to side seam
Length: 24" from top of bodice to waist

Skirt:
Waist: 12.25" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Length: 24" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3194

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

In the book 'Dior, Marc Bohan' there is a quote from Bohan during his period of time with the house from the eighties that states 'My aim is to make clothes that are sophisticated in their simplicity'. That goal is perfectly exemplified in this jacket. Every part of the line and cut of this jacket is perfection. This is true Haute Couture and part of a private collection from the daughter of the original Couture client.

The jacket is made of a beautiful starched linen that is just heavy enough to hold the shape but without adding even a touch of excess weight. In person the color is richer and deeper then how it has photoed and even better in my opinion. It is a deep Ochre that summons up thoughts of travels to exotic destinations. The choice of the linen adds to the luxurious feel. It is only lined through the sleeves so that they hang perfectly and feel comfortable on. It is perfectly structured and every single choice in its construction is from a Master Tailors viewpoint. This immaculate tailoring is helped along by the light starching of the linen fabric that gives it the ability to be sharply cut and tailored and yet still feel soft and easy. The shape is a slightly elongated box that sits perfectly on the body. The notched collar is restrained and neat. The double row of buttons are set low as are the pockets. This gives the jacket a touch of the twenties in feel and it also allows you to belt the jacket above the buttons if you wish. The immaculate seaming of the jacket creates the only detailing beyond the color and fabric choice. It is extraordinary beautiful in its simplicity and perfectly illustrates the art of high couture and ability to cut and tailor like nothing else. Excellent condition.

The sleeves are lined in a matching, hand set silk and the rest of the jacket is unlined with hand finished seams. It closes with buttons at the low front. made by hand to Haute Couture standards with proper couture label. Numbered 13658

Sleeves: 22"
Shoulders: 14.5"
Bust: 18" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 22.5" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# S853

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 matching coat to this tunic can be found in The Met's collection and who knows - maybe the girl that buys this one might one day find a version for her own so that she has the complete set. This is also from the Haute Couture collection that year and is a remarkable example of his work during that time period. A piece of his work in this shade of pink and in this exemplary condition is a rare find.

This beautiful, sculptural, numbered Haute Couture tunic is stunning. If you are the right size and height you could also get away with wearing this as a micro mini. It actually sits a bit tiny on my dress form and I suspect that given the other piece in the collection that year that I could find photos of that it would have been worn as a mini over tights. The fabric is that classic Courreges thick textured wool jersey that despite its thickness is still light in weight and wearable. The slight texture to it and absolutely superb seaming details give the dress a rich, luxurious feel. Each curved seam and the soft but sculptural cut create a beautiful line that curves in at the waist with a flared hip. A half belt detailing anchors the back and is detailed by two large white buttons. Tow more buttons sit on the front of the tunic and it wraps over itself and buttons to close. Each button hole, including the back one which are both completely functional, are finished to couture standards. It has no collar and the front plunges quite low with a hidden hook along the neckline to hold it perfectly in place. Very chic and very couture in feel. Extremely collectible and rare. Excellent condition.

Fully lined in a hand set ivory silk. The tunic crosses over itself at the front and buttons to close. Has an extra button sewn inside. Hand finished throughout. The color is a slightly different shade of pink - and even better I think - than how it photoed. Looked to have been worn very little, if at all. Numbered D7079

Bust: 16" flat across the back from seam to seam
Waist: 14" flat across the back from seam to seam
Hips: 20" flat across the back from seam to seam
Length: 28" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD3189

Reference Photo: Courreges Coat, 1967. From Fashion and Lace Museum Collection.

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

After much research I have narrowed this down to being a version of the dress that walked the 1998 Haute Couture Runway. It is very similar and you could easily see how a client could have modified that dress to become the one that we see here. It is not unusual for a client to have a dress completely customized to her in that world afterall. The cut and feel are so alike and everything else about the dress feels like Mr. Valentino's work during this time period. It is absolutely exquisite and the cut and fit are the sheer perfection that you would expect from a gown made to this degree.

This may be the perfect black dress. It mixes Valentino's unwavering sense of elegance with the high standards of Haute Couture. The dress is strapless with a fitted and sculpted bodice that wraps the wearer in wide flat pleats that are curved, placed and set by hand. The bodice is a masterpiece in shaping and couture techniques. The fabric has been shaped and molded by hand and immaculately stitched into place to create the soft pleats that curve over the bust and highlight your shape. Inside it is boned and shaped with an inner corset. The corset holds the dress perfectly in place but not to the point where it feels constrictive, just enough so that it shapes you perfectly. The pleats cross over the bust and wrap around the back. There they are sculpted into place and they fall to become a part of the skirt, overlapping the panel that comes from the front. This same technique is used at the front, but there the panel that extends into the skirt does not wrap over the other panel but is set more open to show the inner skirt off to its full advantage. The inner skirt is slim cut and falls to the floor. It is made of a silk netting, backed by silk chiffon, and the netting is completely covered with the finest bead and sequin work that I have seen. This is certainly the workmanship of Lesage and would have been made completely by hand  - worked that would have taken hours and hours and hours. What is truly incredible is that the entire inner skirt is finished with this hand done bead and sequin work even though you only see a touch of it from the front. In the second last photo before the inner bodice photos I lifted the back outer panels to show you how the inner skirt is finished all the way around. That is the level of work that you see only in couture.  This is the type of gown that Valentino excelled at. A refined elegance mixed with a luxurious fabric and finished with a master's touch of provocativeness and romance. The dress appears to have never been worn, or worn very little. Excellent condition

The inner skirt is fully backed in a silk chiffon. The outer panels of the skirt are unlined. The inner bodice has a full couture level netted corset and this is boned and cupped. The bead work extend all the way up to just under the bodice on the inside. There is a zipper to close the corset and it also has a hooked waist stay. Another zipper lies over this to close the outer layer. Completely finished by hand work throughout.

Bust: to 17.5" flat across from side seam to side seam
Inner waist: 14.25" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Bodice: 10" from top of bodice to inner waist seam
Skirt: 40" from inner waist seam to hem

Modern Sizing Equivalent: SML-MED

Item# DD3156

Reference Photo: Valentino Spring 1998 Haute Couture Collection

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

The Balenciaga label launched in 1937, closed briefly from 1940 -1945 and then reopened until Cristobal's retirement in 1968. This gown was made in the Paris atelier for the 1962 season. The only other version of it is held in the Balenciaga archives. A photo of the back of this same dress can be found in the book 'Balenciga and Spain', making this dress very well documented. This is true Haute Couture from when Balenciaga himself was a member of  the Chambre de commerce et d'industrie de Paris and designing for his label. Pieces made during this brief period under Cristobal are very rare and this is an especially fine example. The legacy of influential Spanish couturier Cristóbal Balenciaga, continues to today. He is often reffered to as 'The Master of Couture' and rightly so. The recent V&A exhibit 'Balenciaga: Shaping Fashion' 'examined the work and legacy of influential Spanish couturier Cristóbal Balenciaga, with over 100 pieces crafted by ‘the master’ of couture, his protégées and contemporary fashion designers working in the same innovative tradition.'. I feel that this gown could have easily been included in that exhibit and is of museum quality.

The construction of the dress is highly sculptural in nature and a beautiful example of Cristóbal's work. The silk has a satin finish and the heavier weight of this fabric choice allows for the precise, sculptural lines that you see. The sleeves sit just off the shoulder curving away from the neckline in an elegant line. At the front the neckline curves upwards to bring the eye to the face. At the back it curves down to draw the eye to the long trailing bow that runs down the back. The bodice is fitted with a boned and cupped corset inside. This shapes the wearer and cinches in the waist. The hips curve outwards and the skirt falls to the floor in a perfect line that gradually widens out as it nears the hem. The back is magnificent with a a flat half bow at the center back that covers the fastenings. This trails down to the hem and the the skirt dips down slightly with extra pleating for fullness.

Inside the dress is a highly structured foundation garment. The interior corseting has all the things one looks for in couture of this time period. It is boned by hand with steel boning. It is a full inner corset with a complicated construction of elasticized fabric combined with built in cups that are covered in a silk net. This interior corset closes with a series of lingerie hooks and there is even an added a panel of soft silk velvet that is placed under the hooks and against your skin so you do not feel the hooks at all. The dress zips up over this and despite all of this interior work all you see on the exterior is that beautiful sculpted shape with not a single bump or creases to give away the construction underneath. Examples of his work are held in museums world wide and a gown in this condition and color is a rare find indeed. It is in very good condition but does have some small flaws. Please review the description notes below

Unlined with a full built in interior corset and a half skirt that helps to create some volume at the back. It is completely made by hand as the parameters of Haute Couture dictates. It closes with a handset back fine painted metal zipper and the interior corset closes with a series of lingerie hooks. Handset snaps close the lower skirt over the zipper and secure the bow into place. The Haute Couture label and numbered tag underneath are present. There are some faint marks in the fabric around the waistline and some slight fold lines in the fabric here and there from storage. Some rust marks are seen on the interior corset and some torn seams and marks on the interior top bodice and just at the very edge of the seam on the exterior. I have photoed all of the areas. Please review the photos after the label and tape number shot and before the reference photo. None compromise the integrity if the piece. It appears the inner hem was redone at a later date as the thread does not match anything else and looks like it was not done by hand. It was photoed on a size 2 dressmakers form and just fit so best for a size 0-2.

Due to the rarity and nature of this gown it is sold as a final sale.

Bust: 15" flat across from side seam to side seam
Waist: 11.5" flat across from side seam to side seam
Hips: open
Length: 54" from shoulder to front hem, 56" to back hem

Modern Sizing Equivalent: XXS-XS

Item# DD2881

Reference Photos: (1) From the book 'Balenciaga & Spain'.  /  (2) From the Cristobal Balenciaga Museoa.

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 is a certain silhouette that is closely associated with Pierre Cardin but he was actually a designer that had a huge range. At times some of his other silhouettes get overlooked and they should not be. This wonderful Haute Couture example is from the estate of Baronessde Alain nee Mary Chauvin du Treuil and it was made for her during the period of 1968-1970. It is a beautiful and elegant piece that may not be as 'mod' in feel as some of Cardin's other pieces during this time period but shows the breadth of his talent and the restraint in line that he was capable of.

The dress is made from a handmade guipure lace - a heavy lace consisting of embroidered motifs that are held together by large connecting stitches. The color of the lace changes as it travels from shoulder to hem creating a very pretty and striking palette. The texture and weight of it changes as well. The bands of lacework range from a pale lavender at the top to the deep, rich eggplant at the hem, In between this are colors that are somewhere in the middle between the two. The openness of the lace also changes, with a lighter more open feel at the top and then like the color, it gets gradually denser as it reached the bottom hem. The shape is kept very simple so that the lace and color take center stage. It falls in a sleek column over the body with just a subtle nod to shape through the waist. Underneath, it is lined in a high end pink silk whose color peeks out through the outer lace layer. I love the wide cut sleeves and how they are finished following the pattern of the lace. It is a dress that may seem unremarkable on a hanger but transforms into a very chic and elegant piece once on the body. Excellent condition

Fully lined in a pink silk and closes with a hand set back painted metal zipper. Hand set lining, hand made lace and entirely done by hand as per the definition of Haute Couture.

Sleeves: 20"
Shoulders: approx 14.5" but no true seam
Bust: 18" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 56" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD2903

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 exquisite Fall 1952 Christian Dior Haute Couture dress is a beautiful and rare example of Christian's work from this time period. Christian wrote of the Fall 1952 collection, "In the Autumn, the silhouette took inspiration from modern techniques with the 'Profile Line'. This 'Ligne Profilee' was inspired by the shapes modern life surrounds us with" ... owing its shape to "natural curves refined and profiled with care"..."Molded to the body, their goal is first and foremost to thin down and lengthen". Vogue said in part in their review that, "The designing of seam is like a lesson in the construction of a beautiful building... His completely slim profile follows the curve of the ideal body". The New York Times noted "Dior calls the waistline 'unbroken'. It is never cinched. The cut is so perfect, the look so custom-made that description cannot do justice to the simplicity of high tight collars, smooth long sleeves and buttons down the center front". It is a becoming exceedingly rare to find such wonderful examples such as this and I am very pleased to have it in the shop.  A similar gown from this same collection that seems to be a simpler version of this one (and in a far less desirable condition then this one) is held in the permanent collection of the Metropolitan Museum.

The dress is constructed from an ivory silk that has a slight ribbing finish to it. The cut is simple and deceptive in how it makes the many Haute Couture finishes appear to be effortless in their execution. The top is cut straight across at both the front and back. It is molded to the body with wide straps in the same silk curving up and over each shoulder. Clear faceted buttons, that I believe are glass, are places at the outer edges of the top seam and then gently curve in towards the waist. This draws the eye inwards and gives the illusion of an even smaller waistline. The buttons continue on that inward line once they  past the waist seam. On either side of the buttons are simple little slit pockets whose inner construction in quite intricate, These follow the curve of the hip and help add volume there without adding bulk. The skirt billows out to a beautiful fullness and the shape is built in through layers and layers of silk netting and tulle underneath. For the majority of the photos I have added another separate crinoline so that you can really see the volume that can be achieved through the skirt. The last two full photos of the dress before the label shot is of the dress with only its built in skirts. The inner construction of the dress is absolutely exquisite with a boned and silk net corseted interior. Attached to the inner silk skirt there are various layers of silk tulle attached at different lengths. A scattering of beads and crystal rhinestones on the front of the skirt offer the final finishing touch.

It is a beautiful example of Christian Dior's early work and a wonderful example of the golden years of Haute Couture. The dress is not perfect and I have gone through the condition below so please review those notes carefully and review all of the provided photogrpahs. I also took an extensive set of videos when I steamed out the inner parts of the dress and these show the inner construction wonderfully and in detail. I did this through my Instagram stories and saved the series as a tagged highlight "Dior Steaming" that can be access on my bio page there.

The majority of its issues are simple grubbiness. My cleaners felt that the inner parts of the dress would have to be removed and then re-attached in order to clean it properly and the decision was made to leave it in as found condition and leave the original stitches. They did feel that it would clean beautifully so if it is purchased to be worn or perhaps as a wedding dress, it is 100% cleanable and perhaps there is another cleaner out there that may have a different solution. That will be the decision of the new owner regardless.

Fully lined with built in interior silk skirts that have attached tulle layers. There is a built in netted corset that is boned. The interior corset closes with a series of hook & eye. The dress zips to close over that. The dress has general grubbiness over its entire surface with most around the commonly touched by skin areas - around the pockets, the upper bodice and the hem of the skirt. There is a bit of yellowing under one packet and one a couple areas of the skirt. I do not see signs of any major alterations though I suspect that the hem was let down at some point in its history. There are tiny little rust pinpoint marks here and there. The interior tulle edges are left raw. There are some scattered holes in the tulle of the skirt and a couple in the netting of the inner corset but nothing that compromises its stability. It is mainly just grubby. Note that the color has perhaps a touch more cream to it then how it photoed.

Note that because of the rarity and value of the dress it is offered as a final sale to lessen the possibility of multiple shipping trips. Please buy accordingly and ask all questions before purchasing

Bust: 16" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 16" from top of shoulder to waist
Skirt: 43" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3144

Reference photos: (1) The Metropolitan Museum of Art. Quotes in first paragraph from the book Dior Catwalk

This garment is in as found condition. Please review all condition notes, descriptions and photos provided.

At the age of 31, Stephane Rolland took over as Artistic Director for the Jean Louis Scherrer Haute Couture atelier, making him the youngest of the 20 official couturiers at the time. That was in 1997 and he continued as the head of the Couture division until the last showing in 2005 when the house closed is couture atelier. This gown and feather cape is from the Fall 2004 Haute Couture presentation and is the actual runway sample that was presented and worn on the runway, Look 35

I love when I have any Haute Couture piece in the shop and to have the actual runway sample is even that much more amazing. The dress is absolutely stunning and neither the photos on the mannequin or the runway photos really do it full justice. In person the impact of the color of the blue silk and blue feathers of the cape is far more then what a photo could ever convey. It is made up of yards and yards of silk chiffon and this creates the most beautiful movement when you move. The silk is set to flow down from the structured bodice and is as light as the air so that it billows and flows around you as you move. It is very sexy and made more so by the way the silk is wrapped and secured to the base of the bodice structure. It is down to leave a slit that opens almost scandalously high when you walk or sit. .The silk through the skirt is also unlined so it has a sense of semi-transparency to it. It is meant to be worn with just a body suit underneath so that you are just draped in silk and nothing else. The bodice is highly structured and formed with a full inner structured boned and shaped bodice that zips to close at the back. It is highly corseted and structured inside to firmly hold the dress onto the body and give you shape. I absolutely love the way the back is shaped to be more like an attached cape then anything and it also creates a trained feeling behind you. Topping this masterpiece is a unstructured capelet that you just hold in place. It is covered in hand dyed feathers and adds the final touch of absolute glamour to an already high glamour ensemble. It is an incredible piece of modern Haute Couture. Excellent condition

The bodice is fully lined in a blue silk and closes with a back zipper. It is a highly structured, formed, boned and shaped corset and is wired around the inner top as well. The skirt is unlined. Hand work appropriate to runway sample level work throughout (see the photo after the tag for the way it is hand tacked onto the main corset. The hand written runway sample tag is present. The father cape is back in a black silk and the feathers are hand applied to a white organza on the front side. There is a little loop for your hand and for hanging it. It is Couture runway model size tiny - probably closest to a true zero or even less then that!

Bust: 14.5-15" flat across from side seam to side seam
Inner waist: 12" flat across from side seam to side seam
Hips: open
Inner corset: 10" from top of bodice to inner edge at the waist
Length: 57" from top of bodice to shortest point of the front hem, 61" from top of bodice to longest point of the back hem

Modern Sizing Equivalent: XXS-XS

Item# DD3122

Reference Photos: F/W 2004 Jean Louis Scherrer Haute Couture Runway Collection.

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

The woman behind the Maggy Rouff label was Maggy Besançon de Wagner and she started her own label in 1928 after a working at the Haute Couture house of Drecoll. The Maggy Rouf house joined the Chambre de commerce et d'industrie de Paris in 1929 and continued to produce Haute Couture until 1965. She developed a staunch following for her gowns and one of the mainstays of her design was that each gown have a main focal point like the stunning back of this gown. Draping techniques, as we see portrayed magnificently in this gown around the hip ares, where also a signature element.

The gown is tremendously beautiful and has all the hallmarks of Haute Couture. It is entirely made by hand and the fabrics are beautifully. Two fabric were used in its construction -  a rich, heavy weight, Indian Sari silk done in a combination of gold metallic threads on a purple base, mixed with a purple silk satin for the back train and straps. The golden fabric of the front wraps around the body with soft draping that sits across the front at the hips, This gives the hour glass silhouette the dress strives for, even more shape. Above the hips the waist is curved in and then across the bust it is hand gathered again.  The back is magnificent with a sweeping train of silk satin that attaches in just under the small of the back, resulting in a beautiful cascading, trained back skirt. I love the little bow that sits just above the train. again placed to fully highlight your curves. Inside is a full boned bodice as well as a waist stay to hold the dress in place. This dress is all about Old Hollywood glamour and is an incredible piece of mid-century Haute Couture. Excellent condition.

The inner bodice is boned and part of the inner purple silk lining. This layer then closes with a series of snaps and hooks that run down and behind the zipper that closes the outer layer of the dress. The inner waist stay hooks to close. The back train is lined in a stiffened netting to help hold the shape. Completely made by hand as Haute Couture demands and remarkable construction. There is one tiny area on the inner lining's hem that has a touch of fading, that of course this is not something you would ever see when on. Perhaps the tiniest bit of grubbiness to the trains hem but I am being extremely picky.  Otherwise appears to have been worn very little if at all

Bust: 17" flat across from side seam to side seam
Waist: 13.5-14" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 57" from top of shoulder to front hem, the train extends another 8.5" ato its longest point at the back

Modern Sizing Equivalent: SML-MED

Item# DD3118

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

On June 15, 1978 Lisa Najeeb Halaby wed King Hussein wed and she became the Queen of Jordan. She chose a Christian Dior gown, designed by Marc Bohan, for the ceremony and instantly became a style icon. Harper's Bazaar named the gown one of their 'The Most Iconic Royal Wedding Gowns of All Time'. That same year my client commissioned this version of that dress. I have also included a reference photo from the Metropolitan Museum of a top from the same collection that year that also has the open cut work 'ladder' technique. The dress for sale today comes direct from the daughter of the original Haute Couture client who had it commissioned.

The attention to detail shown in every hand done stitch is breathtaking. It is entirely done by hand and the silk chiffon is of the highest possible grade and as fine and light as a feather. The top floats over the torso for an easy fit and is left unlined, which makes it semi-transparent. There is a double row of that open 'ladder' stitch edging the top portion of the bodice. The skirt falls in a column of bias cut silk chiffon. Detailing the lower half of the skirt are six rows of that same open ladder design that is used on the bodice so that it is in perfect balance. It comes with the original flower belt. The belt combines an antique gold metal thread lame that is then detailed with a huge silk flower. You can wear around the waist as intended or even choose to wear at the neck or as a head piece. I also photoed it without the belt so that you can see how versatile it could be. There is also a square silk chiffon scarf that came with it that is not photoed but will be sent with the gown. It is truly a wonderful dress and when you see it in person you will be astounded at the level of craftsmanship and care put into the construction. A masterpiece and fit for a modern day queen. Excellent condition.

The skirt is lined in second layer of the same silk used on the exterior while the bodice is unlined. It is completely made by hand as the parameters of Haute Couture dictates. It closes with a handset, low side painted metal zip below the waist and and above that the bodice closes with a series of hand set, silk covered snaps. Inner waist stay the hooks to close. Note there is no label but it is true Haute Couture Dior. Note the color has a slight hint of terra cotta to it in person

Bust: 17" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: open
Bodice: 18" from shoulder to waist but drapes to approx 15" when on
Skirt: 39.5" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2365

Reference Photos: (1-2) Queen Noor in a Christian Dior Gown & King Hussain of Jordan on their wedding day, 1978 (credits unknown)  /  (3-4) Dior Evening Ensemble from The Metropolitan Museum of Art's Online Collection

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

A dress from this same 1976 collection was photoed on Tina Chow by David Bailey for Vogue. I have included those reference photos here and you can clearly see the same ribbon detailing and pleating technique used. Pieces at this level and beauty by Bill Gibb are extremely rare and it is a privilege to have such a gorgeous example of his work in the shop.

Bill Gibb was one of the most influential designers in 1970s Britain and his clothes were sought out and worn by the rich and famous. His work has a high fantasy element and he was crowned Designer of the Year in 1970. Much of his work verged on couture and he was unrelenting in striving for perfection. This dress set is amazing and I feel that it is a high couture, fantasy version, of the one worn by Ms. Chow. It is made up of two pieces  - a long maxi skirt and a top that has an attached, full length net jacket. The inner skirt is gorgeous in its own right. It is made out of a fine silk chiffon with a soft pink silk interior. The exterior silk chiffon is knife pleated so that it has a lot of movement. The outside layer is finished with that pretty ribbon finish made up of three stripes of silk satin ribbon in a pale blue, a pink and a mint green. This same striping edges the inner portion of the top. The inner top is made from the same silk and chiffon combination as the skirt and treated with that same knife pleating technique. Sitting over, and attached to this, is a long jacket and it is here that the high couture fantasy aspect of the piece goes into full play. The neckline is cut wide across so it almost sits off the shoulder. The fabric that sits over the inner silk top is a fine ivory netting that has a stunning design of flowers and vines that trail up from the hem to the top. They are denser around the hem. Each bit of that design is hand embroidered with a multi-colored pastel thread that has a metallic silver running through it so that it has a subtle glint. It is like wearing a literal work of art. The combination of the fine embroidery work and the metallic of the silver is incredibly beautiful and delicate in feel. All of the edges are all finished with silver cording and there is a ling tie of it at the neck. The sleeves are even more incredible. They are cut extra long and each has an inner pleated base made out of a pale pink silk chiffon that is knife pleated like the skirt and inner top are. Over this is a slightly more ivory toned silk netting that poufs out from the shoulder and is caught up just below the elbow. It then flares back out, widening as it reached the end of the sleeve. Each sleeve is densely hand embroidered with that same metallic thread as the body of the jacket. Long silver cords hang down from the seam at the elbow. This is a rare and absolutely amazing piece that is even better in person. It would even make a beautiful choice for a bride who is looking for an alternative to the traditional wedding gown. Excellent condition

Both piece are fully lined in a pale pink silk. The skirt closes with a metal and nylon zipper. The top slips on to wear with snaps and hook and eye at the very top of the inner most silk part. Museum quality and appears to have never been worn, or worn very little. The colors in person are softer and bit more pink feeling in person. So much better in real life.

Skirt
Waist: 13.5" flat across from side seam to side seam
Hips at inner lining: to 20" flat across from side seam to side seam
Length: 44" from waist seam to hem

Top/Overlay
Sleeves: approx 31"
Shoulder opening: approx 17"
Bust: to 18.5" flat across from side seam to side seam
Waist- hips: open
Length: 25" from top of shoulder to hem of inner top, 58" from shoulder to the full length hem

Modern Sizing Equivalent: SML-MED

Item# DD3081

Reference Photos: (1-2) Tina Chow in an ensemble by Bill Gibb. Photographed by David Bailey for British Vogue, April 1976.  /  (3-4) Cherie, Owner of Shrimpton Couture, by Erin Leydon.

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

The Nina Ricci Haute Couture house was founded in 1932, at 20 Rue de Capucines in Paris and became one of the pre-eminent couture ateliers in the world. In 1964, Gérard Pipart succeeded Jules-François Crahay, Nina Ricci's former designer assistant who took over the atelier in 1954. Over the following three decades, his Haute Couture vision "celebrated a flamboyant woman and his ready-to-wear found a loyal following among the most stylish women of the day." This gown is from the Fall 1994 collection under his creative direction and I have included the runway reference photo here. In an interview with WWD in 1995, Pipart mentioned the state of couture upon his arrival to Nina Ricci, "When I arrived everyone was predicting the death of couture, so I was keen to get in for what were meant to be the final few years. And, despite what people like Pierre Bergé and many others predicted, couture has lasted a lot longer than anyone ever thought." Pipart's designs were often focused on avant-garde structures like this amazing creation,

This gown, from the Fall 1994 collection, is a wonderful example of Pipart's vision for the house and is a stunning example of the work that the atelier was producing during this time period. The gown is created from a hand made, pale dusty pink lace. Each floral design in the lace has been outlined with a fine silver metallic cording and the interior of each flower detailed with a metallic pink cording. Every stitch is done by hand and the hours that would have been put just into the construction of the dress and the making of the lace are mind-boggling. The skirt is finished in a structured tulip style with the front crossing over itself and set on a beautiful upwards curve, so that when you walk you see a glimpse of leg. At the back is an inset of a matching colored pale pink silk. This inset of silk has has been sharply knife pleated and expands and opens into an extensive train. A decorative row of silk buttons details each sleeve and trail down the back for the perfect finish. My client purchased this fairly recently and wore it for her wedding dress, changing into another dress for the reception. It is the perfect choice for a bride who does not want a traditional wedding gown but would also be a stunning gown for a gala event. Excellent overall condition with notes to review below.

The gown is fully hand lined in pink silk and closes with a back, hand set, zipper.  Has an inner waist stay and has hand set snaps to close the train over the inner zipper. Zippers also run down each cuff behind the buttons. Finished to Haute Couture standards and entirely made by hand. The proper Haute Couture label is present. Note that the dress shows grubbiness and marks under the hem and along the train and the edge of the hem from where it hits the ground. There is some discoloration under each arm on the inner lining and a teeny spot where this shows through along the edge of the seam. It is not anywhere that would show in a photo once on. I have photoed all of these areas and they are provided here after the label photo. Note that my client wore this gown for the ceremony and then changed - all of the current marks on the dress were all present when she purchased it. She had the back silk train re-pleated and the side seams were let out slightly, all done by Madame Paulette's in NYC, work that was approximately $1500 to complete. Everything mentioned is very minor overall and it is stunningly beautiful in person. None of the items mentioned effect its presentation when on.

Sleeves: 24"
Shoulders: 15.25"
Bust: to 18.5" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: open
Bodice: 19.5" from top of bodice to dropped waist
Skirt: approx 26" from waist to shortest part where the front curves meet. It curves to 42" at the sides and drops to 49" at the longest part of the lace covered skirt at the back. The silk pleated train extends to 61" from the dropped waist

Modern Sizing Equivalent: SML-MED

Item# DD3080

Reference Photo: F/W 1994 Nina Ricci Haute Couture

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

This is a a wonderful piece in that it can play double duty and be worn as a stand alone piece or layered to act more like a coat. It is from the days when Gianni Versace himself was the head of the atelier and it is everything you want in a Versace piece from this time period. It is constructed from a fine lightweight, black wool. It is cut in one long and lean line that is sculpted to shape the body. It has a slight military vibe to it with its fitted silhouette and top front pockets on both the hip and bust. I love the vertical seaming that runs down the front and back. These follow the curves of the design and emphasize your curves underneath. They also act as a detailing pint as they have a glossy black snakeskin running down each of them for the smallest little touch of texture and shine. The front is finished with a row of black matte buttons and each of these has the gold Versace crest embossed onto them for a touch of gold to break the starkness of the black. These buttons run all the way down the front and allow you to open it fully which gives you that versatility of wearing or open and layered or closed and on its own. Beautifully finished. Excellent condition

Fully lined in a black silk and close with buttons down the front as seen. Tagged a vintage Versace 42.

Sleeves: 25"
Shoulders: 15"
Bust: 17" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 43" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD3074

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 gown is exceptional and it is a testament to the tailoring skills and vision and the man who would become the appointed designer to the Queen of England. Norman Hartnell was one of the British Couturiers who dressed the royals and the aristocrats. London's couture industry established itself after the 1st World War and distinguished themselves from the court dressmakers by presenting seasonal collections. Hartnell opened his couture house in 1923. By 1947 his house was thriving and he was dressing the British Royalty, Hollywood starlets and socialites. He once said “I despise simplicity. It is the negation of all that is beautiful”

Hartnell was known for his opulent yet elegant designs, lavishly adorned embroidery, and use of intricate details. and this dress is a perfect example of that high attention to detail. The dress is made out of a fine black silk taffeta and has the sweeping lines that he was renowned for during this period. The top is cut to slightly pouf off of the body with wide straps that curve up and over the shoulder. They are set so that they will sit slightly off the shoulder if you wish. The skirt sweeps to the floor and literally has yards and yard of silk that make it up. At its hem it sweeps up and under to create a wonderful 'bubble' skirt effect. This gives it so much shape, volume and movement once on the body. It is incredible. The dress is finely pleated through the waist line and up into the bodice and then down into the top portion of the skirt. Scattered over the entire upper portion of the dress and the straps are hundreds of hand set crystal rhinestones in various sizes. These catch even the smallest bit of light. I always feel that he meant to capture the night time sky full of stars whenever I look at this dress. It is very romantic and very beautiful and a true piece of fashion history. An extraordinary example of couture from this time period. Excellent condition

Fully lined in a black silk and closes with a back metal zipper. There is an additional hook & eye closure just inside the zipper area and an inner waist stay. All the inner seams are hand finished to Haute Couture standards. The inner skirt is silk and has a tulle finish to the bottom half. There is an additional layer of tulle in the inside of the outer skirt. Each prong set rhinestone has been had placed and hand set. Hand finished throughout

Bust: to 17" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: open
Bodice: 15.5" from top of shoulder to waist
Skirt: approx 45" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3071

Reference Photo: Cherie, Owner of Shrimpton Couture, by Erin Leydon.

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

The Sorelle Fontana label was started by three sisters in 1943. They prodiuced high end Alta Moda Couture and quickly beacame a favorite of the jet set with stars like Elizabeth Taylor, Audrey hepburn, Ava Gardner, Grace Kelly and Jacqueline Kennedt Onanssis among their clientelle. They were an integral part of establishing the high end "Made in Italy" tradition still known to this day and were one of the forefronts of the tradition of the independent Italian couturier.

This dress is is a spectacular example of the couture work being produced by the Sorelle Fontana atelier during this time period. Rarely do such fine examples of their work from this time period, with this level of glamour, come to market anymore. The cut is simple but dramatic. It is cut in a supermodel long sheath that was made to hug every curve but without clinging. Rather it creates a long lean silhouette that suggests the body underneath and gives the illusion of height. The neckline is cut simply at the front and the back with just the a shallow scoop. The base fabric is a stretch knit  and this glides over the bust and waist. The hips are cut with a slight curve to follow the curve of the body and the skirt falls to the floor from there. The entire dress is densely covered with hand placed iridescent blue sequins. These are so heavily applied that they overlap each other and cover the entire surface. Worked in among the sequins are a looped design that gives the dress a secondary pattern. Over this are hundreds of hand done beaded tassels that follow those curving bead detailing. Each of these dangle a full four inches off the dress and are finished with two faux pearls. The effect that these create whenever you move is jaw dropping. It is amazing. Excellent condition.

Fully lined in a blue silk and closes with a back metal zipper. There is another good 5" turned up inside the hem if you need more length. All the sequins, pearls and beads are completely hand sewn into place. It weighs several pounds. There are some minor repairs to the inside lining near the inner hem but of course these are not seen when on. The stretch knit base will allow for a range of sizes. You could probably get a bit more then even the greater range below.

Bust: 17-19.5" flat across from side seam to side seam
Waist: 16-18" flat across from side seam to side seam
Hips: 18-21" flat across from side seam to side seam
Length: 57" from top of shoulder to hem

Modern Sizing Equivalent: SML-LRG

Item# DD3060

Reference photo: Cherie, Owner of Shrimpton Couture, by Erin Leydon

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

At the age of 31, Stephane Rolland took over as Artistic Director for the Jean Louis Scherrer Haute Couture atelier, making him the youngest of the 20 official couturiers at the time. That was in 1997 and he continued as the head of the Couture division until the last showing in 2005 when the house closed is couture atelier. This gown is from the Spring 2000 Haute Couture presentation and is the actual runway defile sample presented and worn on the runway, Look 16. This particular collection is very poorly documented and I have included reference photos of a similar gown using comparable techniques from the Fall collection of the season before so that you can get a sense of how it sits on the body.

I love when I have any Haute Couture piece in the shop and to have the actual runway sample is always wonderful as it truly represents the designer's vision. The dress is even more stunning in person and the photos really can't do the impact that the head to toe silver mesh and sequins justice. In person the entire dress shimmers and seems like some kind of fantastical second skin as it flows over the body. It has the slightest hint of transparency to it which is very sexy and adds to the allure of the gown. The fabric is an actual silver metal mesh with hundreds of thousands of silver sequins hand applied to cover every inch. It is cut with a classic one shoulder silhouette from which the dress flows down and over the body to highlight every curve. It is cut long and with a slight train that add to the illusion of height. The bodice curves up and over one shoulder and then the mesh acts like a bias cut fabric on the body and hugs and moves with you as you move. Onto the dress are hand applied, ivory dyed horsehair detailing that cure around the body and create a Haute Couture fantasy. The dress is a masterpiece  with its beautiful lines and flowing cut. It is an incredible piece of modern Haute Couture. Excellent condition

Unlined and closes with hidden set back zipper.  Hand work throughout. Unlabeled. This is the actual runway sample worn on the presentation. The fabric gives it the flexibility of a bias cut so has a bit more range of sizing them a more structured piece would have. It weighs several pounds because of the metal mesh used.

Bust: 16-17.5" flat across from side seam to side seam
Waist: 12-14" flat across from side seam to side seam
Hips: 16-20" flat across from side seam to side seam
Length: approx 63" from top of shoulder to the front hem, approx 69 to the back hem including the train to the very longest point

Modern Sizing Equivalent: XS-MED

Item# DD3058

Reference Photos: F/W 1999 Haute Couture Jean Louis Scherrer Runway Collection.

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

At the age of 31, Stephane Rolland took over as Artistic Director for the Jean Louis Scherrer Haute Couture atelier, making him the youngest of the 20 official couturiers at the time. That was in 1997 and he continued as the head of the Couture division until the last showing in 2005 when the house closed is couture atelier. This gown is from the Fall 2001 Haute Couture presentation and is the actual runway defile sample presented and worn on the runway, Look 7.

I love when I have any Haute Couture piece in the shop and to have the actual runway sample is even that much more amazing. The dress is glorious and nether the photos on the mannequin or the runway photos really do it justice. In person the impact of the layering of the red silk gazaar panels that are hand set to overlap and cover the entire dress from bodice to train give it far more depth and texture then even the photos can convey. It also moves wonderfully and is very sexy. The main body of the dress is cut above the knee and then the dress forms and flows around this. Trailing out and behind you is a massive train of fabric that has an almost organic feel to it with its ever increasing sized patches of red covering its surface. The bodice peaks up on one side and is highly corseted and structured inside to firmly hold the dress onto the body and give you shape. The skirt is a masterpiece  with its beautiful lines and flowing cut. It is an incredible piece of modern Haute Couture. Excellent condition with one small note to review below.

Fully lined in a red silk and closes with two zippers, one on the inner highly structured, formed, boned and shaped corset and the second on the outer layer of the dress. The skirt is lined in a red taffeta. Hand work throughout. The hand written runway sample tag is present. There is some deepening of the color/ marks on some of the squares of silk that make up the train and general grubbiness. Nothing that detracts once the gown is on. Otherwise it is immaculate. It is Couture runway model size tiny - probably closest to a true zero

Bust: 15-15.5" flat across from side seam to side seam
Inner waist: 11.5" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Inner dress length: 26" from top of bodice to hem NOT including panels that go over the edge of the dress a bit above and blow the actual inner structure
Length including train to the very longest point:  Approx 92" from top of bodice to final tip of the train

Modern Sizing Equivalent: XXS-XS

Item# DD3054

Reference Photos: F/W 2001 Jean Louis Scherrer Haute Couture Runway Show.

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 dress by Marc Bohan for Christian Dior from the 1978 Fall Haute Couture collection. It is very dramatic with extra long, extended and trained sleeves. Gowns like this really define the fantasy nature of Haute Couture. It has both the dated and numbered couture label from the atelier and  the original hand written tag from Neiman Marcus where it would have been ordered through directly from the atelier in France. That tag identifies it as being Look #54 from the runway and with an original price of $7,975 which converts to $29,434.97 in modern dollars. A sum that would still be well below the price in a modern day couture garment. I have also included editorial reference photos from that year as it was widely documented

The dress is made of a vivid blue, liquid feeling silk satin, reminiscent of the silks used in the 1930s. The fabric drapes exceptionally well, feels almost weightless once on and holds the vibrancy of the color exceptionally well. The neckline is cut square and highlighted with a wide band of the same fabric that is top stitched for contrast. The dress flows from there to the floor in a bias cut column of silk with no defined waist. The sleeves are attached to the top part of the shoulder and they then drape over the arm with the inner edges left open to create a caped effect.  Little open loops lie along the edge near your hands and along the bottom. These allow you to slip a finger through to control the placement of the sleeve if you do not wish them to hang down so much. You can see that in one of the reference photos they have draped the sleeves s an option. The full length of each sleeves from the shoulder to hem is approximately 7 1/2 feet so you have a lot of fabric to play with and style. It is an incredible piece of fashion history. It present as in good condition but does have some notes below to review.

Fully lined through the body in a blue tissue silk and closes with hidden set painted metal zipper at the side and a series of hook & eye just above that. Hand finished to Haute Couture standards. The fabric shows some slight areas of fading and slight discoloration throughout and there is a small area under each arm that shows discoloration (this does not show when on because of the cut of the sleeves) and also yellowing to the fabric here and there, most noticeably at the back. I have photoed the largest area which is about 1/4 the way up the back from the hem. Some darkening/storage marks to the sleeves that are minor. Sold as found

Sleeves: 87" approx.
Shoulders: no defined seam
Bust: 17" flat across from side seam to side seam
Waist: 18" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 61" from waist to hem (sleeves add 28" to length)
Slit at the side: 31" from hem to top of slit

Modern Sizing Equivalent: SML-MED

Item# DD2566

Reference Photos: (1) Dior, 1978. Photo by Patrick Bertrand. Hair by Carita.  /  (2) L'Officiel n.645, 1978. Photo by Michel Picard.

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 woman behind the Maggy Rouff label was Maggy Besançon de Wagner and she started her own label in 1928 after a working at the Haute Couture house of Drecoll. The Maggy Rouf house joined the Chambre de commerce et d'industrie de Paris in 1929 and continued to produce Haute Couture until 1965. Maggy gained early recognition by designing for the some of the Hollywood starlets of the day like Theda Barra, Pola Negri, and Greta Garbo. I found a photo of a garment from 1963 that has a similar, if not the same, fabric treatment from the 1963 collection. 

This is a chic and deceptively simple dress from Maggy Rouff's Haute Couture atelier. The work is exceptional throughout and it is in immaculate condition. It is made of a pale blue silk that is topped by a pale metallic blue net. Onto the net are hand dyed ribbons that are coiled and formed into flowers that are strewn across the surface of the dress. These also have a very slight metallic finish to them and change in color along their lengths from a pale blue to a dark blue. Each is hand placed and set with the slightly curled edges facing up and away form the dress so that the flowers have a 3D feel. It is cut in a long column that skims over the bust and waist and then the skirt flares out as it nears the hem. The shape is created through vertical seaming that curves in from the waist and shapes the dress. The interior is a combination of net and silk and the hem is weighted all the way around. It is a dress made to last a lifetime with classic lines will forever remain in style. Excellent condition.

Fully lined in silk and closes with a fine painted metal zipper at the side. Completely hand made and finished to Haute Couture standards. Weighted hem

Bust: 18" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: 20.5" flat across from side seam to side seam
Length: 52.5" from shoulder strap to hem

Modern Sizing Equivalent: MED-LRG

Item# DD2743

Reference photo: Model in a Maggy Rouf gown, 1963. (credits unknown)

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

The notes for the 1972 collection in the book 'Dior, The Catwalk' state that The New York Times declared Bohan's collection for Dior as 'the best of the season in Paris'  that year. The same notes on to say that the full records for Bohan's collection did not survive the passages of time. Having a dress from this collection that is so very well documented is that much more special as a result. The dress is exceptional.

The caption on the photo of Vogue editorial that I have included here says it best: "Pretty. That's really the word for it - the softness of everything at Dior. So feminine at night especially...The flirt of the sleeves on a short dress for evening...black mousseline, covered at the neck and yet...revealing lots of skin beneath and lots of leg below". Of course on this version, the dress has a crossed over V neck that I prefer to the higher tied neckline. A Haute Couture client would have ordered the dress in a variation that suited them best and often a change like this would not be allowed to be repeated. This design also allows the unusual sleeves to really be showcased and become the highlight of the dress. Each sleeve is semi-sheer to the elbow and is full and poufed underneath until the cuff cinched it in at the wrist. Lying over the lower portion of the sleeve is a circle of silk that that circles around each sleeve and lies over the lower half of the sleeve. It is a very unusual treatment to the sleeves and instantly catches the eye. You can see why it would have been pulled to be used for editorials that season. The skirt is full and has two soft and floating layers of black silk chiffon over a slimmer  inner skirt. The shape this creates mimics the detailing on the sleeve perfectly. The back is left entirely transparent for an unexpected touch of sensuality. Dated and numbered with it Dior Haute Couture label. This is a rare piece of fashion history. Excellent condition

Fully lined in a nude silk chiffon except for the sleeves and upper back above the waist. The back closes with a low set, fine metal zipper and then the dress snaps to close with a series of tiny snaps up the back of the dress that run over the zipper, past the waist to the neck. Each cuff buttons to close. Entirely made by hand. The Haute Couture label is present and the dress is numbered 01340

Sleeves: 27" (poufs up when on)
Shoulders: 14.5"
Bust: 16" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Bodice: 15" from top of bodice to waist
Skirt: 24" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3031

Reference Photos: (1) Karen Graham in a chiffon dress by Marc Bohan for Dior, Autumn/Winter Collection 1972, photo by Richard Avedon, July 1972.  /  (2) Dior dress in Vogue, September 1972.

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

After much searching I have settled on the Spring 1973 as the most likely collection that this is from. That collection also featured snap closures instead of the buttons he used more often in earlier collections. It also had the same side placement of the snaps that the skirt has. This very rare numbered couture label piece from Courreges and its absolutely stunning.

The blue color of the piece is slightly deeper than what is showing and in person is more a true navy blue. The fabric that the suit is made out of is that classic Courreges wool. It has enough weight to hold the sharp lines of his pieces but without adding bulk or feeling to heavy to wear for a modern wardrobe. It has a slight texture to it and that, combined with the superb seaming, are all that is needed to highlight the suit design. The jacket is wonderful with its fitted shape and snap front. It curves in at the waist for added shape and to highlight the waistline. The sleeves are kept short and I love the seaming detail that runs down each of them. The skirt is done in a sharp little A-line cut. It has a double row of snaps that run down each hip and both sides open all the way up to the waist. That means you can leave them as open as you want and create as high a slit up each leg as you wish too. Excellent condition

Both pieces are fully lined in cream silk and close with the snaps as described above. Note that the last two snaps above the hem on either side of the skirt are both snap tops only so do not fasten. There is a repair to the inside lining of the skirt at the back but of course it does not show when worn. tagged a vintage Courreges 00

Jacket
Shoulders: 12" across
Bust: 16.5" flat across the back from seam to seam
Waist: 14.5" flat across the back from seam to seam
Length: 18" from neck to hem

Skirt
Waist: 12" flat across the back from seam to seam
Hips: 17" flat across the back from seam to seam
Length: 22.5" from waist to hem

Modern Sizing equivalent: XS

Item# DD1091

Reference photo: Andre Courreges Haute Couture Spring 1973

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