This is a fantastic piece by Yves Saint Laurent that manages to feel refined and chic, yet very bold at the same time. This is a piece that would have been produced in the early 1970s and shows all the hallmarks of his work during this time period. The body of the sweater is made of a wool mix and I love how it blends a deep rusty red with a darker taupe colour. This gives the piece a very chic country feel. It is cut to cut long and straight through the body with no waist so that it creates a simple line that stops at the top of the hips. If you wanted more shape you could easily belt it. Front pockets sit low on the front on eithor side of the buttons. The buttons themselves are round and thick and are a deep charcoal meant to highlight the fur trim. The fur circles around the tops of each arm and is a soft and supple black fox. This adds unexpected volume to the top. This came from a woman who was very fashionable and regularly bought couture and high end and her pieces were well stored. Excellent condition  

Unlined and closes down the front with the buttons you see. Tagged medium. The pockets at the front are shallow but functional. There is the slightest of wear to the edges of the fur but I am being extremely picky. 

Slightly dropped shoulders: 17"
Bust-hips: 19" flat across from side seam to side seam
Length: 28" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# S926

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

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

This dress comes directly from the original couture client and is an exceptional example of Laurent's Haute Couture work that he was doing during this time period. Finding pieces from this time period in such wonderful condition is a rarity and I am very pleased to have this beautiful dress in the shop. I did extensive research on this one and though I found some similar references from a couple of collections that dated to the same time period that my client's mother as shopping at, I was unable to find any photo of this exact dress. There was a similar lace used in both the Fall 1885 and Fall 1986 collections (which historically was a bit avant garge for the time period as lace had not been seen in couture for some time at that point). Similar colour combination were seen in the Fall of 1989 and for the Fall of 1991. The 1991 collection also features a couple of laces that were similar and that clue, combined with the colour usual for that collection and the number on the label makes me feel that it is most likely dates to 1991. This is also in line with the years that she was actively buying couture. She was a good enough client that there is a high possibility that this was a one-off that was made just for her and is the only one like it made. It is very beautiful and made more towards his aesthetic where he made the dresses to be very tailored and structure as opposed to his opposite side when he did pieces that were more along a drape and flow construction. This is a a dress that truly needs an actual body in to to come to life. It is extraordinary 

The bodice of the dress is highly structured and the choice of silk taffeta allows Yves to mold and shape the sleeves and bodice like sculpture. It is cut to be worn completely off the shoulder so that you get that full bare expanse of skin. A wide band of a deep fuchsia pink silk taffeta, that has a touch of a purple undertone to it, runs across the top of the bodice and then extends down to form each sleeve. He has manipulated and gathered the fabric into folds along the entire length of each arm. The remainder of the bodice is also constructed from a silk taffeta but this time in deep burnt copper that has a touch of a metallic glow to its finish. This too is gathered along each side so that there are soft pleats that lay across and around you. I love how the eye gathers feel cohesive from the body to the arms but the colour gives contrast and the gathers are set slightly different so that you have a slight change in how the texture feels. The skirt comes out from the waist and is a very formal feeling skirt that is attached into the waist with soft pleats that open up to allow it to be quite wide by the time it reaches the hem. The underskirt part is a beautiful rich purple. The purple silk is then covered in a layer of black French lace that has a stunning floral design set within medallions. These run over the lace and are repeated throughout to create the beautiful pattern that you see. I love that the bottom edge of the lace follows the curving shape of the design that is in the lace. His finishing touch is done with a wide silk ribbon in a bright green that wraps and ties around the waist. I love this unusual colour combination. You could also easily wear it without the sash or change it for a more structure belt to add more shape. It is very elegant and yet the bare shoulders add a touch of sexiness. I very much love this side of his work where he works within a strong, shaped silhouette and then created a gown to his exact intentions. Excellent condition 

Fully lined through the bodice in a fine black silk satin. There is a built in silk covered elastic that is attached and wired right between the breast for a slight bit of support and then wraps around you and hooks to close. It closes with a side set zipper and has an inner waist stay that hooks to close. There is a series of snaps above the zipper that run under the arm seam so it opens enough to get into it. Each sleeve zips to close at the wrist. The exterior layer of the skirt closes with its own a hand set side zipper. The silk ribbon belt is tacked into place on either side of the waist. On the interior of the skirt at the inner waist the fabric has been folded down and it looks like it would be possible to lengthen the skirt from there by just about 4" but the side skirt zipper would need to be reset if you did that. There is perhaps a touch of dusting on the fabric on the folds under each arm. So minor I am just being crazy picky because it is couture. Done with Haute Couture construction techniques.

Sleeves: 20" from where they start off the shoulder 
Bust: to 16.5" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: open
Length: 54" from top of bodice to hem

Modern Sizing Equivalent: SML-MED

Item# DD3598

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 incredible dress is from the Fall 2000 Yves Saint Laurent Haute Couture collection and its twin walked the runway that season. The collection was lauded by the press. Marie Claire said 'Faithful to himself, Yves Saint Laurent has once again surpassed himself, without ever betraying the clean look that has become his signature.' The New York Times review by Cathryn Horn noted that the show was attended by ladies such as Nan Kempner who sat just a few chairs away from Catherine Deneuve and Lauren Bacall. Nan was seen in the audience saying 'fabulous' as the dresses paraded past. The Times review included remarks on all of the couture shows that season and said that the 'day belonged to Saint Laurent'. They also noted that "There have been a lot of Saint Laurent shows in recent years when nothing clicked and you thought, 'Okay, this is as good as it's going to get.' But the thing one realized the other day was how vast and deep are Mr. Saint Laurent's reserves of creativity compared with those of other, younger designers who blow themselves out early and then spend the next 10 or 15 years splashing around in the same puddle." This dress is exceptional and a rare piece from one of his final collections. That same NYT article also noted that during this time period, couture dresses had a start cost of $50,000 ($75k in modern dollars), and went up from there. This dress is sourced from the original couture client.  

The dress is exquisite and I love that you can see just how wonderful it is on the body from the runway reference photos that I have found for you. It is made from an inky black silk velvet with inset panels around the skirt. The sleeves are long and straight and the dress is cut to sit fully off the shoulders. This allows your entire upper shoulders to show. It skims over the body and the velvet lies over a fully built in inner corseting that gives support and keeps the dress perfectly in place. This inner corset is fully boned and closes with its own separate zipper. The dress skims over the body with vertical seaming all around for each panel that the dress is made up of. It is meant to sit so that your shoes show from under the skirt and this length also gives the skirt the best possible length to show off its fullness and the ingenious insets all around the skirt. Just below the hips he has inset panels that are made from knife pleated black silk netting. The are set in in such a way that each is very full. The result is that you get a stunning bit of volume through the lower skirts as these flare out around you and move when you move. They have a touch of transparency to them so you get a suggestion of leg showing as you walk. A wide silk satin ties at the waist for the perfect finish. Yves once said of the colour black "I love black because it affirms, designs, and styles. A woman in a black dress is a pencil stroke". The dress looks to have been unworn or worn very little and was sourced form the original couture client. Excellent condition  

The outer velvet layer is fully interlined in a fine black silk satin. The built in corset is boned and shaped. It closes with its own zipper and has an inner waist stay that hooks to close. The exterior layer closes with a hand set zipper. Done with Haute Couture construction techniques. The silk ribbon belt is not original to the dress. It appears to have been unworn or worn very little

Sleeves: 22"
Inner bust: 17.5" flat across from side seam to side seam
Inner waist: 14.5" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: approx 56" from natural shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3586

Reference Photos: Fall 2000 Yves Saint Laurent Haute 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.

The New York times said of this collection at the time; 'Yves Saint Laurent did it. With sophistication and authority in his collection for spring and summer, he gave validity to couture, the high end of the fashion industry. There was no desperate groping: this is the way the most expensive clothes in the world should look, he seemed to say. As the showings sailed into their final days, he re-established himself today as the king of couture." after their review of the day and suit looks they continued to say; "Preliminaries over, he was ready for evening dresses, the serious business of couture. His unerring eye for color came to the fore....One-color dresses were also effective, in fuchsia, bright blue or rose. Rarely did he resort to embroideries...His effect was achieved through line and cut." The review ended with this lovely sentiment; 'Saint Laurent knew his show was a success. "The couture lives," he whispered backstage after it was over. His mother, Lucienne Saint Laurent, told him he had never done better. He seemed to agree. It is rare for a designer to reinvent himself at the age of 56, the way Saint Laurent had just done. The show recalled his glory days in the 1970's, when he set the guidelines for couture and the rest of fashion. He has now done that for the spring of 1993." 

This particular style dress has incredible provenance. On the runway this dress was shown in a darker, more subdued blue and I have those runway shots here. The twin of the runway dress is held in the Met Museums' collection in both a red and the darker blue. The blue one in their collection was donated by Annette de la Renta and the red belonged to style icon Nan Kempner. There was another darker one produced for Catherine Deneuve who wore it to accept the Cesar award for Indochine. Such an incredible amount of history tied to the dress and it is exciting to have such a full and varied picture of who else ordered and loved the dress.

My client had the dress made in one of the brighter blues that was used elsewhere in the collection that year and I love it in this brighter bolder color. The dress is cut to leave one shoulder completely bare. Both sides have long slim sleeve and there is a panel of the same silk gathered along the top of the shoulder that then swoops down over the bodice and the back. That draped panel is very full and I love how it drapes over the sleeve on that side. The inner details here show is the genius of couture. The zipper on that side is set so that is softly curves under the arm and runs down the top of the inner sleeve. That way the person wearing the dress does not have an uncomfortable zipper pull right under their arm. It also keeps the sleeve perfectly in place despite the absence of a shoulder. The waist is seamed and detail by a matching, hand dyed silk satin slim belt. The skirt falls the the floor under that, gently widening out as it nears the hem. The side opposite to the bare shoulder has a very high slit so that you get a flash of leg as you walk. It is stunning and in person the colour is a touch richer and deeper then how it photoed. The silk also has a slight texture to it that adds detailing in person that the camera does not quite convey. This is a wonderful example of how strong his tailoring was in evening wear and an important piece fromm a collection hailed as a triumph. Excellent overall condition with a small note below

Fully lined in a fine blue silk. Done with Haute Couture construction techniques and closes with a hidden set side zipper under the arm that curves up and into the sleeve as described above. Inner waist stay hooks to close. The fabric is cut on the bias so there is some give. There is a slight fading along the top of the shoulder and down that same sleeve. Please see the two photos after the reference shot. It is light and because of the placement once on it is barely seen. The hem has been let down at some point. The belt is original to the dress and is in excellent condition 

Sleeves: 27"
Bust: to 19" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Bodice: 18.5" from top of bodice to waist
Skirt: 43" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3582

Reference Photos: (1-2) S/S 1993 Yves Saint Laurent Haute Couture Runway.  /  (3-4) S/S 1993 Yves Saint Laurent Haute Couture Dresses from The MET Online Collection.  /  (5-6) Nan Kempner in Yves Saint Laurent, May 1993.  /  (7-8) Catherine Deneuve receives the César of the best actress 1993 for her interpretation in the film of Régis Wargnier "Indochine", March 08, 1993.  /  (9) Maxime, Loulou & Lucie de la Falaise in Yves Saint Laurent.

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 longer skirted version of this was presented as Look 38 of the Fall 2001 Haute Couture collection. For the runway it was shown with a full length evening skirt. My client ordered it with a more wearable pencil skirt length which gives it the added benefit of being able to be worn from day through to evening. The Fall 2001 collection was one of his final collections and to have a piece from this season is very special. Vogue noted that "Cocktail hour incorporated every possible variation on the tuxedo: There was a button-front dress, a smoking jacket that morphed into a full tulle skirt, and, naturally, an updated version of the masculine tux immortalized by Helmut Newton in the '70s." Yves play on the tuxedo and 'Le Smoking' suit is one of is most famous hallmarks  He first presented the now famous suit in 1966. His play on traditional menswear is lauded by many as 'having empowered women by giving them the option to wear clothes that were normally worn by men with influence and power'. 

I love the extra wide collar on this one. It is so bold and yet still elegant and refined in feel. There is nothing quite like slipping on a tailored piece of true haute Couture. It feels different somehow and the feeling is something you can only really experience for yourself. The construction is meticulous and it is in wonderful condition. It is sourced from the original couture client. These suits were all done in a play on a men's tux and then were shaped and tweaked by Yves to be immensely flattering on the female body. The cut is masterful and its simple appearance is produced by genius tailoring that is sharp and meticulous. The jacket is tailored with a sleek cut that follows the curves of the body. It is slightly cropped to sit just at the top of the hip. It has his signature matte satin tuxedo collar and on this one that line is exaggerated to cover almost the entire front of the bust area. Yves produced many versions of this suit over the years but what I find remarkable is that each version is distinct in how it closes at the front and the way that the collar is shaped. This one has a single faced, glossy jet button to close below that amazing collar. Two discreet pockets are top set on the hips and the shoulders are sharp and perfectly padded. The fabric that he chose is has a fine rubbing effect to it and it has enough weight that it holds the lines perfectly once it is on. The skirt is cut in a simple pencil shape. Once on, the suit transforms and you can see how beautiful the lines are from the runway photos and video that I have included here for reference. His suits change the way we approach woman's wear and any example of the Le Smoking version is particularly collectible. They are a particularly wonderful example of how strong his tailoring was and vision for a woman's place in the world. This is an important piece of fashion history from one of his final collections. Excellent condition

Both pieces are lined in a rich heavy black silk. The jacket has a single button at the front to close. The skirt has a zipper and hook & eye at the waist. Two pockets on the jacket. All hand finished to couture standards. It looks to have been worn very little if at all. All Haute Couture tags present and it was sourced from the original couture client 

Jacket
Sleeves: 23"
Shoulders: 15"
Bust: to 19" flat across from side seam to side seam
Waist: to 17" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 23" from neck to hem at the front, 22 at the back

Skirt
Waist: 15" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 23.5" from waist to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3559

Reference Photos: Diana Gärtner for Yves Saint Laurent Fall 2001 Haute Couture Runway Collection. Look 38.

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

Andre Courreges introduced his Hyperbole label in 1970 as a ready to wear line. The contrasting white with the vivid orange is a predominant theme and gave the pieces a more sporty look. The unusual colour choice combined with his signature cuts make them instantly recognizable as being his work. Similar examples are held in museums worldwide and I am always pleased to have his original work in the shop. 

This is a really great coat that has some weight to it making it warm and cozy to wear. It is belted for a slight touch of definition through the waist and the big flap pockets with those white buttons at the front act as both a design feature and give it a sense of sporty utility. Big round white buttons do up the front and at the back there is a row of them that run down the middle of the back. These are all functional buttons which is remarkable and shows you the level of quality in RTW back then. It is cut to skim over the body and be more fitted through the top and then the bottom portion is cut on a bit of a flare to the hem. The neckline is structured and set high with a collar that is set back to the sides and curls over. Epaulets sit on the top of shoulder with more button detailing. The seams are topstitched in a thread that is the same colour as the wool. Inside, the coat is finished with a quilted padding that keeps you warm. Courreges once commented when asked about how his fit and cuts came about, saying that it 'was somewhere between a youthful and optimistic inventiveness, and a concept of fashion embracing the platonic ideal of perfect form. What was needed was to apply new technical and aesthetic rules and to create a modern style that was easy to wear.'  Excellent overall condition with notes to review below

The jacket buttons to close at the front and it has its original belt that buttons into place. More buttons run down the back vent and are set at each cuff. The pockets button to close as seen. It is tagged a Courreges size 00. There are a few grazes out of the wool near the hem and on the lower portion of the coat. All are stable and do not go fully through and did not worsen after being dry cleaned. A minor mark to the interior lining. Please see all the photos after the label shot. It presents as excellent. 

Sleeves: 23"
Slightly inset shoulders: 13.5"
Bust: 17" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 45" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# C559

Reference Photo: Courreges (left) and Miss Dior (right) coats, L'officiel magazine, 1971.

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

Andre Courreges introduced his Hyperbole label in 1970 as a ready to wear line. The contrasting white with the vivid orange is a predominant theme and gave the pieces a more sporty look. The unusual colour choice combined with his signature cuts make them instantly recognizable as being his work. Finding a jumpsuit complete with its matching jacket is very rare and it is a fabulous set. His work is held in museums worldwide and I am always pleased to have his original work in the shop.

This is an amazing set that is made out of a wool that has a soft, almost fuzzy, feel to it. Andre was known for his unusual fabric choices and this would have been cutting edge at the time. The jumpsuit is cut to skim over the body and hips and then the legs are straight with a slight flare to them as they reach the hem. Depending on your height they will sit as a bit of a crop. Big round painted white snaps do up the front above a zipper. There is a double set of flap pockets stacked on top of each other. One set is at the waist and the other at the top of the hip. The jacket is cut in his classic cropped silhouettes. Big flap pockets sit on each side at the front and it closes with a huge chunky white zipper. This one has a belt that goes through big belt loops around the bottom of the jacket and then it closes in the front with a painted metal buckle. I love how once it is on it sits just above that lower flaps on the jumpsuit. White snaps close each cuff and perfectly tie into the snaps on the jumpsuit. It is an incredible piece and is even better on an actual person. This is a very rare example of his work. Presents as overall excellent condition with notes to review below

The jacket zippers to close at the front and it has its original belt that buckles into place. The jumpsuit closes at the front with snaps and a zipper under those. It is tagged a Courreges size B. The flap pockets are all decorative. The fabric shows minor pilling overall and this is a natural part of the aging of this type of fabric. There is a darkened mark on the inside of one leg and a couple of minor spots on the sleeves. Some yellowing to the inner lining of the pants at the inner seam. Minor paint loss to the zipper/snaps and buckle. Please see all the photos after the label shot. 

Jacket
Sleeves: 23.5"
Slightly inset shoulders: 13.5"
Bust: 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Length: 19" from neck to hem

Jumpsuit
Bust: 17" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 55.5" from shoulder to hem
Inseam: 28" from hem up

Modern Sizing Equivalent: SML-MED

Item# DD3610

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

This is a fantastic piece by Yves Saint Laurent that manages to feel refined and chic, yet very bold at the same time. This is a piece that would have been produced in the early 1970s and shows all the hallmarks of his work during this time period. The body of the sweater is made of a wool mix and I love how it blends a deep rusty red with a darker taupe colour. This gives the piece a very chic country feel. It is cut to cut long and straight through the body with no waist so that it creates a simple line that stops at the top of the hips. If you wanted more shape you could easily belt it. Front pockets sit low on the front on eithor side of the buttons. The buttons themselves are round and thick and are a deep charcoal meant to highlight the fur trim. The fur circles around the tops of each arm and is a soft and supple black fox. This adds unexpected volume to the top. This came from a woman who was very fashionable and regularly bought couture and high end and her pieces were well stored. Excellent condition  

Unlined and closes down the front with the buttons you see. Tagged medium. The pockets at the front are shallow but functional. There is the slightest of wear to the edges of the fur but I am being extremely picky. 

Slightly dropped shoulders: 17"
Bust-hips: 19" flat across from side seam to side seam
Length: 28" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# S926

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

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

Hanae was the first woman of Japanese descent to have presented on the Paris and New York runways and the first Asian woman to be admitted as an official Haute Couture house to La Chambre Syndicale de la Couture Parisienne. Her work is exceptional. This set is a little extra special since it still has its matching jacket which gives you more versatility in how you can choose to wear it. Hanae Mori excelled at these beautiful floral prints and when I find pieces with one of her oversized florals done in a mix of her signature soft and dreamy pastels I am very happy. I feel that pieces like this are among the very best representations of her work.

This is everything you look for in a Hanae piece. It has that wonderful custom designed print screened onto feather light silk layers on both the exterior layer and on the inner dress. This allows the two prints on each layer to be slightly offset as they layer over each other. This gives the print an extra dimension of depth. Doing this is one of her signatures and she used two types of silks to achieve this effect. This one takes that concept even further with multiple layers used in its construction. The innermost layer is a silk twill that takes colour exceptionally well. This has been printed with the her customs design and then it is interlined in a layer of tissue silk. Then there is a layer of the palest pink silk chiffon that defuses the print between the top and bottom layer. The outermost top layer is a printed silk chiffon that gives the dress its light and airy feel and has a touch of transparency to it. The dress is suspended from the shoulder with two padded silk straps that curve up and over the shoulders. It dips into a wide flattened V at the front and scoops low at the back. From the neckline it cascades and skims loosely over the body, gently widening out until it reaches the hem. It is cut to be very long and I love how the pattern changes and gets more intricate as it nears the hem. Over this is a gorgeous little silk chiffon jacket. The sleeves are cut extra wide and have that same pale pink silk chiffon layer under the top layer. Slits run partway up the inner seam of each sleeve so that you get a very wide feel to them as you move your arms. The body of the jacket is loose and full with an inner pink silk lining and is cut to mirror the widening of the lower part of the dress. It has a high rounded collar and closes down the front with three large frog knots made out of the same silk chiffon over inner padding. It is a stunning example of her work and beautifully made. I have included a photo of the hand finished interior seams cut in the traditional couture manner. I love it. Excellent condition with a minor note below

The inner silk twill dress is interlined in tissue silk and then has two layers of silk chiffon over that. It closes with a back zipper and then each silk chiffon layer closes with her signature silk covered teeny snaps. The jacket closes with the frog knots at the front. The loose and easy bias cut should allow it to fit a variety of sizes. Hand finished throughout. Hand rolled edges. The very upper edge of the collar is starting to fray and I see the tiniest faintest of marks on the front that you would never see when on

Dress
Bust: to 21" flat across from side seam to side seam
Inner waist: to 17" flat across from side seam to side seam
Inner hips: to 21" flat across from side seam to side seam
Length: 60" from top of straps to hem

Jacket
Sleeves: 24"
Shoulders: 15"
Bust: to 21" flat across from side seam to side seam
Waist- hips: open
Length: 24" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# DD3589

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 is held in the permanent archives of The Metropolitan Museum. It would not surprise me to find out that these were the only two samples of this dress in existence. True Haute Couture pieces were never produced in any significant quantities. The dress is as wearable now as it was when first made and feels very modern. It is entirely finished by hand and is from the time period when the house was run by Hubert de Givenchy himself. This is a wonderful and well documented piece showcasing Givenchy's work during this time period. I have included the dress that the MET has in the final shot here for your reference

The dress is made of a deep blue grey silk crepe. It is cut with a strong nod to the classic Grecian silhouette that leaves one shoulder exposed and bare. The construction details throughout the dress are exquisite. The bodice has been gathered by hand to create a series of soft pleats that run from the shoulder to the waist. These are set on a curving angle to follow the cut of the neckline as it works it way up towards the shoulder. The draping and soft pleat technique adds a beautiful detailing to the bodice of the dress. The waist is defined by a slim gold leather cord that wraps and ties to add shape. The skirt falls below this to the floor gently widening out a touch as it nears the hem. A second panel of fabric is draped over the skirt and set so that it angles softly down one side mirroring the angle of the shoulder. Slipping over this is a short cape that is made from the same fabric. It is cut on an angle to point down the front and the back and gives the dress a beautiful flowing feel. The colour is richer and deeper in person and on an actual body the entire dress really comes to life. Excellent condition with a few small notes below to review.

The dress is fully lined in a hand set blue silk of very high quality. There is a wide waist stay that hooks at the inner waist. It closes with a hand set, side painted metal zipper and from the waist down there are hidden set snaps that close the fabric of the skirt over the zipper. The bodice is lightly boned and there are small bust pads that are handset inside the bodice. The cape is unlined and slips over the head to wear. There are some light snags in the fabric here and there and some small areas pf darkening on the skirt overlay - the snags are most noticeably on the back of the skirt near the bottom - these are seen most when it is laid out flat but once on the color and placement make all of them negligible. Please see the two images after the label shots. All the interior work is done by hand to Haute Couture standards. Proper Couture tags on both pieces. Haute Couture tape label #55417

Dress
Bust: to 17" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: 15" from top of shoulder strap to waist
Skirt: 42" from waist to hem

Cape
39" from neck to longest point of hem

Modern Sizing Equivalent: XS-SML

Item# DD2767

Reference Photo: 1973 Givenchy Evening Dress from The MET 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.