Based on the style of the label inside the coat I am dating this to the 1920s or 1930s but it is conceivable that it could be earlier. It is a remarkable piece and so far, I have been unable to find out more about its origins. Regardless of its history as a guard coat (which we know from the label stating just that inside) it is a dramatic and gorgeous coat that has a strong military feel. It is made from a black cotton velvet that has a deep maroon velvet used to highlight the collar and the waist. An ivory cording has been hand applied in swooping curves over the velvet and the pattern is dramatic and fabulous. It highlights the cut of the jacket and the color pops off the black and red. Mixed into the design that is created by the cording are flat silver metal discs that are attached by hand. These are fairly large and really create a statement against the velvet. The buttons are all original and a matching matte silver metal. It is cut fairly straight through the body with a slight flare at the bottom skirting and the sleeves are cut on a curve to follow the shape of the arm. It is wonderful. Excellent condition

Fully lined in a black cotton and in very good antique condition. It buttons to the waist. Some patina to the metal but nothing beyond normal aging. The collar seems to lie slightly off as photoed but this just makes it more unique. This would have been made for a man originally so you should expect it to feel oversized

Sleeves: 25"
Slightly dropped shoulders: 16.5"
Bust: to 19" flat across from side seam to side seam
Waist: to 18" flat across from side seam to side seam
Hips: open
Length: 41" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# C538

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 construction on this coat is wonderful. It is hand made and the tailoring on it is really extraordinary. It's label tells us that is was a custom tailored piece that would have been specialty ordered out of the British Crown Colony of Hong Kong who were doing the best bead work & tailoring in the world during this time period.

The choice of the black silk makes it very easy to wear for multiple occasions. It would have been considered a formal evening piece during its time period but now, a modern girl could wear almost anything with it. It is made from a very high end black silk that has some weight and structure to it. This allows it to keep that wonderful shape that you see. The cut of the coat is very simple and elegant. There is no collar or visible closures on the coat to break the lines of it. Instead it has a series of hidden hook & eye that run down the front and seem almost invisible whether it is closed or open. This highlights just how perfectly the beaded bands at the waist and hem line up to each other where they meet at the front. At the waist and hem there is a wise panel of bead work. Another wide band of the beads also circle each cuff of the sleeves. The beads are glossy black glass tube beads that are all set by hand.  An incredible amount of work given that there are literally thousands of them. The sleeves are cut to just above the elbow and the coat is generous through the body. It is very beautiful. Excellent condition with one small note to review below

Fully lined in a fine black silk and closes with hidden hook & eye down the front. It is fairly heavy as the bead work is very thick and extensive but it sits well when on and does not actually feel heavy when worn. Hidden silk lined pockets at the front seams. Hand finished and hand beaded. Light padding in each shoulder under the lining. There is a tiny amount of bead work missing at the front waist on one side. Please see the photo after the label shot.

Shoulders: 16.5"
Sleeves: 19"
Bust: 20" flat across the back from side seam to side seam
Waist: 20" flat across the back from side to side
Hips: 23" flat across the back from side to side
Length: 38" from neck to hem

Modern Sizing equivalent: MED-LRG

Item# C192

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 coat has no designer label present but is extremely well made and very beautiful. It is cut with soft rounded shoulders and the sleeves are set wide and stop just past the elbows. The body of the coat is cut to sit very full on the body and flares out as it nears the hem. The outside is a bright clear blue and the silk is of a very high quality. Running down the front are three large coiled and braided knots that are made from the same bright silk. These run down the front of the coat under the small neat collar and add beautiful detailing. Within the centre of the braided loops is a little silk splash of brilliant green and it is only when you open the coat that you see that the lining is made out of the same bright green silk. Making that little touch of green on the front a brilliant detail. Even the sleeves are lined in the green so when you lift your arm you get a tiny flash of the green. The coat snaps to close with hidden snaps under the front panel so that when it is on and closed you get a beautiful unbroken line. It is a wonderful piece of unlabeled vintage that is high end piece and gorgeous. Excellent condition. 

Fully lined in a bright green silk and closes at the front with hidden silk covered snaps. It appears to have been worn very little if at all. Hand finished and very well made

Sleeves: 19"
Shoulders: no defined seam
Bust: to 21" flat across from side seam to side seam
Waist-hips:open
Length: 43" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# C557

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 coat is an early example of Christian Dior's work and I love its simplicity. It has the Christian Dior Original, New York label. This label would be considered to be demi-couture from this time period of Dior's history. Pieces with this label where made for the American market to sell in the New York Salon. They were based on the runway designs and were constructed with the same high standard finishes that the true Haute Couture pieces incorporated. It is very well made and even better in person.

This coat is in exceptional condition and it looks like it was never been worn, or worn very little. It is cut with the volume and curves that defined the era. It is a wonderful example of the work Dior was doing in this time period and why they had such an influence in establishing the direction of design during this era. The lines of the coat are very simple. There is the very minimal amount of seaming done to achieve the shape that you see. It almost has a slouchy robe feel to it with a angle shaped collar that sits above the large buttons that run down the front. The shoulders are cut so that the curve and drop. The sleeves extend from there and are cut to just past the elbow. Through the body it is cut with a full curve that narrows slightly into the hem. I love the large front pockets that are top set and sit on each hip. The fabric is a highly textured matte silk or silk and wool mix that is unusual and quite charming. Inside there is a woven silk lining that has the look of the type of silk that would normally be used in men's suiting. It feels very modern and is pristine. It looks like it just stepped out of the showroom of the atelier. Excellent condition

Lined in a hand set black textured silk. It buttons to close at the front and has pockets on each hips with each pocket is lined in silk. The buttons have proper finished buttonholes. Hand finishes. The cut is meant to sit oversized and will fit a variety of sizes.

Sleeves: 16" approx.
Shoulders: no defined seam
Bust: to 23" flat across from side seam to side seam
Waist: to 22.5" flat across from side seam to side seam
Hips: to 25" flat across from side seam to side seam
Length: 42" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# C435

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 elaborately sequin and bead covered dress is even better in person. The workmanship on it is outstanding with a dense, hand applied application of large black paillettes, smaller sequins, beads and curving ropes of seed bead work that give it even more of a 3D effect. The bead work covers every square inch of the fabric and each one has been meticulously placed by hand onto the black stretch knit base. Once that dress is actually on, it hugs and molds to the body. The dress has a very intentional simple cut to offset the extensive bead work. It is a chic sheath silhouette with a slightly nipped in waist, long skirt, a barely there suggestion of a cap sleeve and a V neck. The back is also finished with a V cut that is set so that it dips lower down the back then the front. The hand work done on the dress gives it a three dimensional quality as they are set raised up from the knit. Glossy black flowers are formed from the combination of the various beads used and thick ropes of twisted black seed beads loop and curve through the design from top to bottom. Everything has a high gloss finish and I love the way it gleams in the light. It is also a great wearable size and the knit base makes it feel fantastic once on and extremely comfortable to wear. Excellent condition.

The bead work and sequins are hand applied onto what feels like a cashmere mix knit base. It closes with a back metal zipper. The edges of the slit on the skirt are finished with a black silk panel of fabric but it is otherwise unlined. The knit gives it quite a bit of stretch and the measurements give below are the comfortable range lying flat. You may be able to get a bit more then that if needed.  It still has the high end department store Neusteters label but if it had another designer label at some point that is now a mystery.

Bust: 18-22" flat across the back from side seam to side seam
Waist: 14-17" flat across the back from side seam to side seam
Hips: 18-22" flat across the back from side seam to side seam
Bodice: 15" from shoulder to waist seam
Skirt: 37" from waist to bottom hem

Modern Sizing equivalent: MED-LRG

Item# E416

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

This is one of two leopard printed pi y hair jackets that I have in the shop this week that originate from Mexican during the 1960s or 70s. These would have been made by hand by local artisans for the tourist market and represent an important part of the artisanal history during this time period. This one has a double row of shiny buttons that run down the front and a very wide collar that is rounded off at its edges. The sleeves are long and the waist curves in slightly. The coat has a ton of swag to it and is amazing in person. I love the top set pockets on the hips. Each one is detailed with a patent leather piping that runs down dividing the pocket visually into three panels. This picks up on the patent covering the front buttons. The coat is not 100% perfect but its in great condition and still very wearable.

Lined in a silky black rayon and closes with the buttons at the front. One button is missing its cap. There is a small nick on the fur on the collar where the crease is and a small bald spot under one pocket. The coat is in as found condition and does have a slight vintage odor. The pelts are still supple and glossy. Should fit a range of sizes depending on how you like to wear your coat

Sleeves: 23"
Shoulders: 17"
Bust: 20" flat across from side seam to side seam
Waist: 19" flat across from side seam to side seam
Hips: 21" flat across from side seam to side seam
Length: 41" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# C551

Thoroughly checked over before shipping, it will be ready to wear upon arrival.

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

Odette Barsa was a lingerie designer who was very successful. She was born in Syria in 1901 and came to America where she married Simon Barsa in 1922. Her husband had a successful business but it got into trouble after the 1929 stock market crash so she started making lingerie. She imported her fabric and embroideries and made high end lingerie up until her death in 1975. 

This would have been meant to be more of a hostess piece that you would wear while entertaining at home. Now a piece like this could be worn anywhere. It is a lovely bright candy pink that is a touch brighter in person. The fabric is a synthetic jersey and has lots of drape and movement. The cut is extremely loose and easy. It is a simple caftan feeling shape with long sleeves, a wide cut through the body that gets even wider as it nears the hem, and a simple scooped collar. Each sleeve is adorned with a wide band of feathers that have been dyed to match the pink of the dress. I love the length of this one as it is not so overwhelming. You could easily belt this to add shape if you wished. It is a great piece that is easy to wear and has lots of impact. Has pockets on each hip. Excellent condition with a note to review below

Fully lined through the body with a pink nylon jersey and closes with a back zipper. The fabric is a pink synthetic jersey. In very bright light I see two small and light marks at the front. They are very faint but there. Please see the final photo where I tried tp capture them. This one is not labeled but is the same as the red one I just had and from the same woman. The loose cut should work on a range of sizes

Sleeves: 22" long and 13" around 
Shoulders: 15"
Bust: to 19" flat across from side seam to side seam
Waist-hips: open
Length: 52" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# DD3626

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

This dress is from the archive of the Roman couture house Tiziani, which was founded in 1963 by American designer Evans Richards. The label quickly became a favorite among celebrities and socialites including Elizabeth Taylor, who was a regular client; Doris Duke, Gina Lollobrigida, and Principessa Borghese. The label is also famous because of the fact that as a young designer, Karl Lagerfeld accepted a job there. Lagerfeld worked at Tiziani from 1963 to 1969. This piece is unlabeled but has the provenance of being a part of a past auction that featured the sketches and a few select pieces of work from Karl Lagerfeld's time at the label, this dress being one of them.

The dress is constructed from a fine, pale yellow silk chiffon that in person is a prettier and more pale lemon colour then how it photoed. The colour is even prettier when you see it in hand. The dress is very beautiful and has a very romantic feel to it. The silk it is made out of is extremely light and airy and the skirt has used yards and yards of it in its construction so that it feels like it is floating around you when you move. The bottom of the skirt is finished with a edging technique that uses a thin strip of stiffening fabric hand rolled within its edge. This lets the silk ruffle and curve as you can see in the photos. The work on this dress is meticulously done. The bodice is equally as fabulous and it has been adorned with a dense coverage of a metal thread applied in a honey comb pattern. Over that is an intricate application of hand beading to create the little discs that you see covering the bodice at the front and the back. I love the little flowers formed in the centre of each medallion and how Lagerfeld has used the smallest hints of pink in there and along the edge to pop against the yellow. The bead work is extremely fine and mixes embroidery work, real metallic thread, seed beads, crystals and larger beads. These give the dress a touch of glitz and sparkle. It also adds a 3D feel to the piece. Note that he has curved the beadwork down but left a gap deliberately on each side. It almost feels like a suit of armour because of this and offers a touch of contrast against the soft feeling the dress has. The neckline is squared off at both the front and back. The sleeves are very full and pouf above the cuffed wrists. Each sleeve is unlined so that you get a touch of transparency there. The construction of the dress is entirely by hand and it is done to Haute Couture levels and I have included lots of interior detail shots so you can see. It is extraordinary and an amazing piece of fashion history. Excellent condition with a minor note to review below

Fully lined in a hand set yellow silk through bodice and the skirt has an inner skirt that is made of silk and then covered in silk chiffon. It closes with a hand set  back zipper. Each cuff buttons to close. The outer skirt is finished with a thin stiffened strip that is hand rolled and encased in silk that helps to give the bottom of the skirt that ruffled effect that you see. All hand work throughout and made to couture standards. There is some fraying to the inner edge of the top of the neckline (see final photo) and some of the threads on the 3D beads have loosened slightly so tend to flop over a bit. There are a couple of really faint darkened areas in the silk here and there but you really have to look for them and they get hidden in all of the yards of silk used. Perhaps a touch of grubbiness here and there to the very edges of the hem

Sleeves: 26"
Slightly dropped shoulders: 16"
Bust: 18" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Inner hips: 20" flat across from side seam to side seam
Length: 60" from shoulder to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3499

Reference Photos: Cherie, Owner of Shrimpton Couture.

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

This dress is from the archive of the Roman couture house Tiziani, which was founded in 1963 by American designer Evans Richards. The label quickly became a favorite among celebrities and socialites including Elizabeth Taylor, who was a regular client; Doris Duke, Gina Lollobrigida, and Principessa Borghese. The label is also famous because of the fact that as a young designer, Karl Lagerfeld accepted a job there. Lagerfeld worked at Tiziani from 1963 to 1969. This piece is unlabeled but has the provenance of being a part of a past auction that featured the sketches and a few select pieces of work from Karl Lagerfeld's time at the label, this dress being one of them.

The dress is constructed from a fine purple silk that has been adorned with dense areas of hand beading. It is almost overtly ornate in its design and is a strong statement piece. The bodice has a V neck that is edged with pink silk satin trimming. This same ruffled trim work circles under the bust and at the waist. It is carried through and around the sleeves, the cuffs and the hem. The sleeves are full and pouf above the wrists. Each sleeve also has a dense panel of bead work circling the elbow area. More beads adorn the bust and run around one side of the skirt. The bead work is extremely fine and mixes embroidery work, real metallic thread, seed beads, crystals and larger beads. These give the dress a touch of glitz and sparkle, The green of the designs pops against the purple silk and I love the 3D feel this detailing adds to the piece. The bottom of the skirt is finished with knife pleating and the work done there is meticulous. The construction of the dress is entirely by hand and it is done to couture levels. It is extraordinary and an amazing piece of fashion history. Excellent condition

Fully lined in a purple silk and closes with a back zipper. Each cuff buttons to close. The inner skirt is finished with an extremely wide stiffened hem encased in silk that helps to give the skirt structure and the slight bit of volume you see. All hand work through out and made to couture standards. Light padding in each shoulder. There is the tiniest of fading to the edge of the purple silk lining on the inner arms that does not effect the exterior in anyway. 

Sleeves: 23.5"
Slightly dropped shoulders: 16.5"
Bust: 19" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: open
Bodice: 11" from neck to first seam under the bust, and 17.5" from neck to waist
Skirt: 42" from the dropped waist seam to hem

Modern Sizing Equivalent: MED-LRG

Reference Photo: Cherie, Owner of Shrimpton Couture.

Item# DD3251

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 Frank Usher dress is really wonderful. It is a full length maxi dress and the skirt falls to the floor with yards and yards of a bright orange based coral jersey for its fabric. The color is an instant showstopper and the fabric choice means that it drapes and moves fantastically. The skirt is cut on the bias and once it is on you get a better sense of just how much fabric has been used. The waist is set high and just under the bust. There are three long skinny ties made of the same fabric that loop through openings there. These allow you to cinch in the front and gather it a little more if you wish and then you can either leave the ties hanging on either side or tie them at the back. The top has two triangle halters that plunge to those front ties. They then curve up and extend into long straps that tie behind the neck. This leave the back completely bare. Excellent condition

The bodice is a double layer of the jersey and the skirt is unlined. It closes with a low back set zipper and also ties around the neck. Three ties runs through the front that can be adjusted for the perfect fit. The loose and easy cut should allow it to fit a range of sizes. The color is a touch more coral then how it photoed in person

Bust: variable since it has no true side seams and has stretch
Underbust: to approx 14-16.5" flat across from side to side
Natural waist & hips: open
Length: somewhat adjustable but approx 58-60" from neck to hem it will vary a little depending on how you tie it at the neck

Modern Sizing Equivalent: SML-LRG

Item# DD3335

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

This dress was custom made, and is from the estate of 1950s model Betsy Pickering Kaiser. Betsy appeared on several Vogue covers in the 1950s and it was during that time period time period that she met Galanos. They were friends for over 60 years. She collected, and wore Galanos, her entire life and was his friend and muse. He once told her husband ‘I would rather have Betsy wear my clothes than any other woman’. She was a constant presence on the International Best Dressed List and and was added to the Best Dressed Hall of Fame in the early 1970s.

Galanos was known as the designer that could rival the French in terms of construction and design. He launched his atelier in 1951 and although his atelier was never formally designated as Haute Couture by the French, he certainly produced clothing that met the parameters of couture and he is often referred to  as one of the great American couturiers. Here, we see that high level of workmanship put into this dress. The dress is made of a light weight  black silk chiffon that is covered with a vivid floral print. The colors are bright and true with a watercolor feel and they pop against that black backdrop. Three full layers of silk are used through the body and yet the dress still weighs mere ounces. The top layer is printed and the two layers under that are a black silk chiffon. The layered effect of the silk gives it lots of movement and creates a light, floating effect when you walk. Each layer is finished with a black ribbon piping along the edges and the dress does up along each side with a series of small frog knots and loops made of the same fabric as the finishing. It is cut in a long column that skims over the body to the floor. Each side has a openings along either side and the lower frog knots are functional so that you can control how high they open slightly. The top is scooped at both the front, and the back. Both these scoops are finished with a panel of a fine black lace so that you get a transparency effect. The back is scooped very low and is only kept from being scandalous for its time period by that covering of lace. The contrast between the lightness of the silk, the see through quality of the lace and the boldness of the colors is wonderful. Excellent condition

The dress is made of three layers of silk chiffon and close with a hidden set, side zipper. Frog knots run down each side with some functional and some decorative. The slits can be close slightly with a frog knot and if you wanted them higher you could open them more. This is a one-off, unlabelled custom piece made for Betsy and came from her estate. The cut is loose and easy through the body.

Bust: 18-19" flat across from side seam to side seam
Waist: to 19.5" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 56" from top of shoulder to hem
Slits: to 28" on one side and to 23" on the other

Modern Sizing Equivalent: MED-LRG

Item# DD3004

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

George Stavropoulos was known for his evening wear and his signature looks focused on cut and fabric to convey the beauty of each piece. He launched his label in 1960 and soon was dressing women like Elizabeth Taylor, Jackie Kennedy, Barbra Streisand and Maria Callas. His dresses were made by hand and to couture standards. By the early 1980s a gown by him started at around $8500 and they went up in cost from there - that starting price point equals to around $26,000US in today's dollars. So when you buy a vintage Stavropoulos gown you are getting incredible value for your money. The only reason his work is not under the Haute Couture category is because he was not an official member of the association.

This dress has the most unusual and wonderful fabric treatment that has been applied onto its surface. Hundreds and hundreds of little embroidered white triangles of fabric have been applied to the dress to cover it from shoulder to hem. These are sewn onto a fine white silk netting and then that is layered over an inner, more ivory toned, silk crepe. This play on tone give it more depth and visual interest. The triangles are set onto the fabric so that parts of the points flutter off the fabric, giving them a 3D quality. The actual dress under that amazing applique work is quite structured. The bodice has slim sleeves that taper in from the shoulder as they reach the ends, and the neckline is cut wide and squared off at the front. The shoulders have very light padding and they are set so they have a bit of high capped feel to them. At the back it is slightly scooped. The dress follows the body with has vertical seaming that bring it on at the waist a touch and then it falls to the floor. A high back vent is the perfect finish and gives a glimpse of leg. Excellent condition

Fully lined in an ivory silk crepe and closes with a hand set, painted metal zipper at the back. Light padding in each shoulder. Very well finished. In person it has a touch more of an ivory tone to the base.

Sleeves: 22"
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 22" flat across from side seam to side seam
Length: 58" from top of shoulder to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3282

Reference Photo: Cherie, Owner of Shrimpton Couture.

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

Stephen Burrows was a truly amazing American Designer. He was the first African American fashion designer to really achieve international recognition for his work. His clientele included celebrities like Diana Ross, Cher and Barbra Streisand. Burrows won three Coty awards in 1973, 1974 and 1977. He was also one of the five American designers to show at Versailles in 1973 when America was pitted against the French couturiers. As his career progressed he became more well known for his use of jerseys but earlier pieces often incorporated the use of prints. This is one of those printed pieces and I love the beautiful flowers that cover the surface of the cotton. The skirt falls from the waist in a long, dramatic swoop that gets wider as it nears the floor. It skims over the hips and then there are just yards and yards of that beautifully printed fabric by the time you reach the hem. The waist band extends into long ties that wrap around you and cinch it in. I love the ruffle finish along the edges. He became know for his lettuce hem finishes as his career progressed and this feels like an early predecessor to that. It is fabulous. Excellent condition

Unlined and wraps and ties at the waist. Pockets sit along the seam at both hips. It appears to have been worn very little if at all. The wrap waist will allow it to foit a variety of sizes

Waist: 15" flat across from side seam to side seam, but is adjustable with the ties
Hips: open
Length: 45" from waist to hem

Modern Sizing Equivalent: SML-LRG

Item# S816

Reference Photos: 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.

This red, full length, silk jersey dress is from Karl Lagerfeld's own label. He launched his self-named label in 1984 and this dress would be from the earlier period of that line. It is made from a silk jersey in a deep red and has an easy to wear cut that give you a long and lean line. The skirt falls to the floor from a slightly dropped waist. The jersey gives it a column feel when you are standing still, but once you move, you realize that there is quite a bit of fabric there. At the front the skirt curves slightly up for a pretty and feminine touch. It skims over the hips and the dropped waist is flattering as it brings the eye down rather then draw attention to the waist line. The sleeves are cut slim and long with a gathered detail at each cuff and hidden set zippers to allow them to fit close to the wrist. The bodice is cut long to past the waist. The fabric that runs along one side of the bodice is gathered in soft folds. At the back it closes with a long series of tightly spaced fabric covered buttons. It comes with a matching, wide cut jersey sash that is very long. This will allow you to use it in several ways - wrap low on the hip as shown, use it around the waist or neck, or even wear as a turban. It really showcases Karl's genius with fabric and cut and is a wonderful example of his earlier work. Excellent condition with two small notes to review below.

Unlined except for the front bodice panel which is lined in a red silk. It closes at the back with buttons as shown. The fabric does have some stretch and is cut on the bias. There is a teeny tiny repair near the top button at the back and there is one tiny spot on the front just above the seam. Tagged a vintage 40 and the fabric does have some stretch

Sleeves: 26"
Slight dropped shoulders: 16"
Bust: 17-20" flat across from side seam to side seam
Natural waist: 14-18" flat across from side seam to side seam
Seam above hips: 17.5" flat across from side seam to side seam
Hips under seam: open
Bodice: 21" from shoulder to dropped seam above hip
Skirt: 39" dropped seam above hip to the back hem and the front skirt comes up slightly at the center

Sash: 93" x 20"

Modern Sizing Equivalent: MED-LRG

Item# DD2137

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

Koos Van den Akker started his career as an apprenticeship with Christian Dior in the late 1950s. This early exposure to Haute Couture influenced all of his work for the rest of his career. He was a designer that started from the fabric, allowing it to influence the final design. This love of textiles runs strongly through his pieces and he is particularly adept at mixing and matching prints. His best pieces have a collage patchwork feel to them. This s an exceptional piece as much for its representation of his work and also just because it is gorgeous 

This amazing wrap piece is made out of several different soft cotton prints that have been pieced together in a bold patchwork collage that highlight the different components of the design. It is so easy to wear and I love that you can choose to wear it as a dress or use it to layer over or under other pieces and treat it like a light weight coat. It is long enough that it would layer perfectly over the pants and adding a wide legged trouser would give it a while new feel. It is equally as good on its own as a dress or a coat. It has a wide collar and it is loose cut through the body. Each sleeve is cut very wide and full. You can definitely see the nod to the Kimono and Yukata in its cut. It comes with its original sash that is made out of the same various prints and is very wide at the middle with long extended ties. It is very chic and very versatile. Excellent condition

Unlined and slips on to wear. It wraps and ties with the matching sash. Pockets on each hip. It appears to have been worn very little if at all. Tagged an XS but its loose and open cut should fit a variety of sizes. A teeny mark near the front hem

Sleeves: approx 19"
Shoulders: no true shoulder seam
Bust-hips: 25" flat across from side seam to side seam
Length: 47" from neck to hem

Modern Sizing Equivalent: XS-LRG

Item# C570

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 dramatic and full sleeve dress by Mary McFadden has a definitive Elizabethan feel to it. The Juliet sleeves are full and exaggerated to the extreme and give the dress its main focal point. A wide metallic gold panel runs down the upper part of each arm and acts as a touch of support to the fullness that runs from the shoulder to the elbow. There is inner built in structure inside each sleeve to help hold the shape. Beneath that, the sleeves conform to your arm for contrast. The entire dress is made from her signature pleating which allows it to highlight the body under the fabric, yet still skim over your curves. The neckline is cut wide and the bodice is slightly shaped to follow the curve of the body. It has a low dropped waist that is highlighted with the same wide band of metallic braiding. I love how this curves downwards. The skirt under that is done with a touch of a different pleating pattern for contrast. These are easy to wear and care for and it is a definite statement piece. Excellent condition

Unlined through the body. The upper sleeves are lined in an organza that is inset to help retain the shape and volume you see. The dress closes with a side painted metal and nylon zipper. Tagged a vintage 10. The fabric has tons of stretch so it should fit a variety of sizes

Sleeves: 25.5"
Slightly inset shoulders: 14"
Bust: 14-20" flat across from side seam to side seam
Waist: 13-18" flat across from side seam to side seam
At the gold dropped band: 18" flat across from side seam to side seam
Hips below the band: open
Bodice: 17.5" from top of shoulder to top of dropped band, the band is 2" wide
Skirt: 35" from top of dropped band to hem
Length: 53" from shoulder to hem

Modern Sizing Equivalent: SML-LRG

Item# DD3371

Reference Photos: (1) Jacki Adams and Iman with sculpture in "Sensuous…Mary McFadden" for US Vogue, February 1983. Photographed by Horst P. Horst.  /  (2) Cherie, Owner of Shrimpton Couture.

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

This is actually part of the Intimo Couture line by Valentino so would have been meant to be a robe but I think someone could get away with wearing this as an amazing outdoor coat and playing on the men's bathrobe feel that it has. The coat is made out of a super soft mohair that is done on a muted pastel mix of pale blues, creams and taupes. The pattern is an over-sized plaid that covers the entire robe. Inside the coat is lined in a soft, pale blue silk that gives it a pretty flash of colour when you move. The soft lines of the piece make it very comfortable to wear. The cut is a play on a men's bathrobe. The collar is rounded and soft and it is finished in a pale blue satin. Each sleeve is cut extra long and you can wear the cuffs down and keep that long feel or flip them up. When they are flipped up you see that each cuff is backed in the same soft blue satin as the collar. The sleeves are cut straight and wide. It has its original tie belt in a matching mohair and you simply wrap the robe around you and tie it into place with the belt. Pockets are hidden along the seam of the hip on either side. It is gorgeous and cuddly and wonderfully made. It looks to have never been worn or worn very little. Excellent condition.

Fully lined in a place blue silk and wraps to close with the belt. The cut is very forgiving. It should easily work as an over-sized garment on a smaller girl and will work equally well on a larger frame. Pockets on each hip. Some light scuffing to the silk lining. Tagged a large. It is more a blue and ivory in person then the taupe it photos as

Sleeves: approx 24 cuffed and 28" without
Shoulders: no defined seam
Bust: to 27" flat across the inside back from side seam to side seam
Waist: open
Hips: open
Length: 56" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# C569

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

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

The base of the dress is made out of a fine gold metallic lace netting. This is then backed in a deep gunmetal silk. The metallic lace over the silk gives the dress a subtle glimmer from top to bottom. Onto this are black sequins that are hand applied and hand placed in clusters to follow the design in the netting. This layer construction of the fabric gives the dress texture and depth. Once on the body it really feels like it comes to life as the light catches the various parts of the dress. The dress is surprisingly light in weight because of the netting and silk combination. It is cut in that classic Vicky Tiel bombshell lines. The bodice is fitted and the neckline is curved into a sweetheart ashes that plunges quite low. At the back it is set into a low. V. The bodice is boned and shaped inside for support. The sleeves are unlined and long so you get a play on the transparency of the fabric down the arm. The skirt is wrapped and attached around the waist. It is gathered high along one side and there is a high slit under that exposing a ton of leg. The curve wraps around and back with the can hem sitting longer then at the front. Excellent condition

Fully lined in a deep gunmetal grey silk, with the sleeves left unlined. It closes with a back painted metal zipper. Lightly boned through the bodice.

Sleeves: 25" 
Bust: 19" flat across the back from side seam to side seam
Waist: 15" flat across the back from side seam to side seam
Hips: to 21" from side seam to side seam
Bodice: 16" from shoulder to waist seam
Skirt length: 41" from waist to longest point of the back hem

Modern Sizing equivalent: MED-LRG

Item# DD367

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 beautiful set from the 2005 Cruise collection. I always think that these two piece set are extra great additions to your wardrobe since they can be worn together or you can mix and match with other pieces already in your wardrobe. Both pieces have the beautiful cut and fabrication that you expect from Chanel. The sweater top is made out of a light weight black cashmere. The sleeves and hem are then finished with a banding of the same boucle fabric that the skirt is made out of. Just above the bottom band at the hem there is also two little strips of the boucle that are fused into the cashmere to give the suggestion of the classic Chanel pocket that would sit on the front of a jacket. It is cut to be worn more loose and easy through the body and can be worn tucked in or left out. There is also a little metal double C logo on the bottom band. The skirt is made entirely of the boucle fabric and has a sleek cut with front vents built into the skirt for a little bit of flare when you walk. The boucle mixes soft ivories, camels, grey and blacks and is very beautiful. As you get closer you can see some parts have a metallic finish to them that gives it an extra bit of texture. It is wonderful. Excellent condition with one small note about the top below

The top is unlined and the skirt lined in a fine ivory silk. The tops slips on to wear and the skirt close with a hidden set zipper. Hand finishes throughout. The skirt is tagged a vintage 38 and the top a 42. The top shows some very slight wear to the fabric under the arms. Please review the last two photos after the label shot

Top
Shoulders: 16" across
Bust: to 20" flat across the back from side seam to side seam
Waist: to 17" flat across the back from side seam to side seam
Hips: to 20" flat across the back from side seam to side seam
Length: 23" from neck to hem

Skirt
Waist: 16" flat across the back from side seam to side seam
Hips: to 19" flat across the back from side seam to side seam
Length: 21.5" from waist to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3449

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

For the Vogue review of the Spring 2016 Vetements show, Sarah Mower stated: The entity that goes under the name Vetements has caused quite a quake through fashion—bottom-up, from nowhere. Just when—by looking at mainstream corporate luxury-goods norms—it seemed that cool was dead and buried and nothing “alternative” could ever again survive, along came a couple of brothers, Demna and Guram Gvasalia, and their collective of friends, to prove skeptics wrong....At top speed, Demna Gvasalia and his co-conspirators confirmed everything their following likes about their off-kilter, elegant, giant-jacketed tailoring and clunky romantic dresses, and then bettered it all. ...Then came the dresses, in a stunning number of new, colorful, and punchy-sophisticated ideas....Demna Gvasalia himself learned the ropes at Maison Martin Margiela, before setting up Vetements and getting on with proving that there can be a different way of doing things. Apart from their stylistic insights into what people really want to wear, it feels like the beginning of something else, too—perhaps something like the power of niceness and friendship in an industry that could do with a lot more of that."

This dress was one of the favored among the street style set and was photoed endlessly it seemed for various editorials. It sold out world wide and was wait listed. It is impossible to find even now and I am very pleased to have sourced one that has never been worn and is absolutely pristine. It feels as fresh and avant garde as it did then and will absolutely be a future collectible. The color is a deep red and the cut is oversized. The body of the dress is made of layers of a chiffon and the sleeves and all the ruffles are made out of a heavier, stiffened fabric that gives them shape and structure. I love that the sleeves are cut in a very traditional carving line. The shoulders sit extra wide and are meant to be prominent. The skirt is set asymmetrically and this was the beginning of this detailing that has gone on to become one of their signatures in current collections. It is remarkable and a true piece of fashion history that will only increase in value as time passes. Unworn with all original tags attached. Excellent condition

Lined in the same chiffon and slips on to wear. Tagged an XS but is meant to be worn over-sized. It will fit a range of sizes because of this. Original tags attached

Sleeves: 29"
Shoulders: 17.5"
Bust: 21" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: open
Bodice: 17" from top of bodice to waist
Skirt: 29" from waist to hem

Modern Sizing Equivalent: XS-LRG

Item# DD2830

Reference Photos: (1) S/S 2016 Vetements, Look 34.  /  (2) Vetements Outfits Photographed by Inez + Vinoodh, Vogue, March 2016.  /  (3) Bella Hadid in Vetements, ELLE US, February 2016. Photo by Dan Martensen.

This garment has never been worn and is in its original new with tags condition. Thoroughly checked over before shipping, it will be ready to wear upon arrival.

This is a stunning example of the couture work being done by the house of Lanvin during the years that Antonio Castillo headed the atelier. Castillo started off his career at the houses of Paquin and Piquet. He also did a stint designing accessories for Chanel. In 1950 he became the head designer at the House of Lanvin. The press at the time lauded him, along with Balmain, Dior and Balenciaga, as the new generation of the Paris Couture designers. During his time at Lanvin the house was known for the simple and elegant lines of the clothes and his metallic pieces were particularly sought after. This is a rare Haute Couture dress from that period whose label is the one used from 1954 to his departure in 1962. I found a couple of photos of a 'gold organza' dress that has the same pleated metallic skirt treatment that this one does and was able to date it by those. It is very beautiful. 

The fabric of this dress is the undeniable focal point of the dress and it is just wonderful. The bodice is a heavy silk faille dyed to a brilliant emerald green. It is cut to skim over the bodice with a seamed waist that has a matching fabric belt in the same green silk. It is sleeveless and the front is detailed with a cleverly built in pleating effect that gives a nod to the Lanvin bow but without adding bulk to the bust area by adding an actual bow there. Variations of these 'built in' bows were used extensively during the collections of 1954 and I think this is one of the best versions. The skirt is a masterpiece and you can see in the reference photos just how wonderfully it will move. I have photoed it over a light crinoline so that you can get a better idea of the full shape. The top layer is made out of a fine metallic thread silk organza that has a bias cut fine line worked through the fabric. This tiny angled line contrasts with the sharp knife pleats that the skirt has and lets the gold thread catch the light even more then it would otherwise. In person the fabric almost seems to glow. The gold color is not quite captured in these photos and I think it is far better and richer feeling when you have it in hand. Under the top gold layer is an inner silk skirt that has a deep stiffened hem to help give the skirt volume and hold the pleats true. The entire dress is made with masterful seaming and cut. The fabric choices are just extraordinary. It is a stunning and rare example of the Haute Couture pieces the house was producing in this time period. It has its Haute Couture label which is hand numbered on the reverse side. The inner silk is stamped Rhodia along the seam. Excellent condition with a small note below

Fully hand lined in silk and all done and hand stitched on the interior to Haute Couture standards. The dress closes with a side set painted metal zipper and snaps and hooks on the inner layer. Inner waist stay that hooks to close. The matching fabric sash circles the waist and there is a combination of hook & eye and hidden snaps to secure it. The inner skirt shows grubbiness and marks around the hem. Grubbiness along the edge of the hem of the outer skirt here and there and I see one teeny, well done repair on the outer skirt. If not for that it would look unworn. Hand numbered Haute Couture tag

Bust: to 19" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam but see above notes
Hips: open
Bodice: 14.5" from shoulder to waist
Skirt: 40" from waist to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3468

Reference Photos: (1) Lena Madsen in evening gown of finely pleated 'opaline' gauze by Lanvin-Castillo, photo by Guy Arsac, 1954.  /  (2) Gold organza gown by Lanvin-Castillo, 1954.

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

This vintage Lanvin skirt would have been designed by Belgian-born Jules-Francois Crahay, who headed the Lanvin ateliers from 1964-1984. He has been "noted as one of fashion’s great colorists with his colorful patterns making his 1970s Lanvin designs hugel​y ​desirable and influential." His realm is one of my favorites for the house and the period through the late sixties and into the 70s in particular. He was a genius at print and color and he pushed the envelope in terms of using the "new" jerseys available during this time period. This skirt has a boutique label present

This skirt has such a bright mix of color and print. The jersey fabric it is made of was considered one of the new "miracle fabrics" of the day as they gave women the option to wash and wear and travel with pieces that needed little or no ironing once you arrived at your destination. Lanvin began producing pieces from these jerseys in the early 1970s to appeal to their younger, jet set clients and I love when I find great examples of these and this time period in the label's history. The skirt falls to the floor and slightly widens as it nears the hem. There is a band of a more fitted part that wraps around the low waist with a seam under that the the lower part of the skirt is set into. I love the print pop art floral print and that color combo of purple and green with pop so a vivid pink. The skirt feels fuller in person. Excellent condition

Unlined and closes with a painted metal zipper. The waist is set and has no give

Waist: 15" flat across from side seam to side seam
Hips: open
Length: 42" from waist to hem with 4" turned up under the hem

Modern Sizing Equivalent: MED-LRG

Item# S899

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 wonderful pink silk voile dress is from the Nina Ricci Boutique ready to wear line. When hunting for a reference to date it by, I happened across a photo from 1976 that has a Ricci dress in a very similar print, color and ruffle trim finish. The Ricci atelier was launched in Paris in 1932, Ricci retired from designing in the early 1950s and then Jules Francois Crahay headed the design team until he left for Lanvin in 1963. That makes this dress land in the era of Gerard Pipart who took over from Crahay and stayed on with Ricci until 1998.

This wonderful dress is made out of a fine silk voile, one of my favorite fabrics as it holds color exceptionally well and it is very light in weight but still has a touch of structure to it. This unique combination creates volume where it is required, without adding unnecessary bulk. The dress is very pretty & feminine and  it is cut with a simple hostess dress feel to it which was a popular look for that time period. The bodice has a small ruffle finish around the V of the neck and is left with a touch of transparency through the upper shoulders, back and sleeve. The waist is seamed and under that the skirt billows out with light and airy fullness. The skirt is made of yards and yards of silk that drapes perfectly into place as it flows to the ground. The back of the skirt is cut just slightly longer then the front which gives it a pretty sweep.  I love the little ruffle trim that sits at the end of each cuff and also details the waist and lower tier of the skirt, effectively tying together all the elements of the dress. It is very pretty and feminine. Excellent condition

The dress is fully lined in a pink silk through the bodice and skirt and closes with a  back painted metal & nylon zipper. Each sleeve zips to close.

Shoulders: 16.5"
Bust: to 20.5" flat across from side seam to side seam
Waist: to 16" flat across from side seam to side seam
Inner hips: to 21" flat across from side seam to side seam
Bodice: approx 15" from top of bodice to waist
Skirt: 40" from waist to front hem, 43" to back

Modern Sizing Equivalent: MED-LRG

Reference Photo: (1) Joan Severance for Nina Ricci, 1976.  /  (2-4) Cherie, Owner of Shrimpton Couture, by Erin Leydon.

Item# DD3031

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 original owner of this dress wore it to host a dinner party in 1989 but I do not know if she had purchased it that same season or from a slightly earlier season. There are hints of it from both the 1986 collection in terms of  some of the construction details and the 1988-89 collection in terms of color specifically. I have included reference photos for both those collections. Of course Haute Couture was always custom made for the client so would rarely be a specific copy anyway but it is nice to have a more narrow date range.

The dress is a stunning example of Valentino's work during this time period. It mixes a sense of restraint and elegance with the softness and sensuality that the silk gives it. You are entirely covered form neck to hem but the transparency of the silk through the billowing sleeves and upper shoulders hint at the skin underneath and keep the dress from feeling too demure. The bodice is a masterpiece in shaping and couture techniques. The silk here is entirely set and gathered 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 but not to the point where it feels constrictive, just so that it holds you in place and shapes you perfectly. The skirt flows out under that in four full layers of bias cut silk chiffon so that when you move the skirts seem to float around you. This is the type of gown that Valentino excelled at; refined elegance mixed with a luxurious fabric and finished with a master's touch of provocativeness and romance. The dress presents as excellent but does have some flaws. Please review the notes below.

The interior bodice is finished in muslin, lingerie netting, boned and molded through the bust. The sleeves and upper shoulders are unlined and the skirt is made from four full layers of silk. The interior bodice closes with series of hook and eye and the dress sips to close over that with a painted metal zipper. Each cuff buttons to close with two silk covered buttons and loops. Three buttons also sit at the top of the back neck just above the slit opening that starts just above the zipper of the corseted bodice. There are various discolored areas through the skirt that go through the layers. I have photoed the worst of them. There is so much fabric that once on these are almost invisible to the eye so it is wearable as is if you are OK with it being not 100% perfect. There are some very light faint versions of the same on the upper front above the corset and through the sleeves. I see one tiny repair near the hem at the back of the skirt. Priced well down from what it would be if perfect. Note for those that buy based on how it fits me that it was a little long through the bodice and big through the bust and waist on me.

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

Matching ruffle edged shawl (photoed separately)
54" x 52"

Modern Sizing Equivalent: MED-LRG

Item# DD3018

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# C404

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

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

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

A version of this jacket in the same unique colour as this one was featured in the Rive Gauche catalogue from the runway show. This version is not as flashy with the gold but the braiding and leather used is more extensive and feels more timeless. Its a wonderful example of his work during this period

If you are looking for full on luxury, then this is the jacket for you. It's timeless lines will go with almost anything and it is made from a rich, thick, luxurious cashmere with just a touch of wool added for structure. It is a beautiful fabric clad so soft and warm. The colour is amazing - it is a deep greyish purple but has just a touch of an undertone colour to it that seems to take on different hues in different lights - sometimes more black, sometimes a hint of blue and sometimes a deep purple. We have managed to capture it pretty accurately in these photos and it is even better on person. The shoulders are squared off and the body is cut to have a suggestion of shape at the waist. Pockets sit on each hip. The finishing details add to the rich feel of the jacket. All of the edges are finished with a thick, flat braided cord. This circles the hem, runs up the front and around the notched collar and finishes each cuff. At the front, the jacket closes with huge braided leather loops that fasten over big leather buttons. Each sleeve has two more of those huge buttons and the buttons holes there are functional which shows the high quality of the piece. It looks to have never been worn or worn very little. Excellent condition

Fully lined in a deep midnight purple silk and closes at the front. Tagged a vintage YSL 36 but has a very oversized cut that shouldl allow it to fit a variety of sizes depending on how you want to wear it.

Sleeves: 23"
Shoulders: 17"
Bust: 21" flat across from side seam to side seam
Waist: 18.5" flat across from side seam to side seam
Hips: 21" flat across from side seam to side seam
Length: 28.5" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# S788

Reference Photos: (1) F/W 1984 Yves Saint Laurent Catalogue.

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 set with all three original pieces that would be from when Marc Bohan was head of the Dior atelier. It is a beautiful and early example of the work being produced by Christian Dior in this time period. This is the Christian Dior - London label and is considered to be demi-couture from this time period of Dior's history and this set in particular is numbered. These where made for the London market based on the runway designs and with many of the same high standard finishes that Haute Couture pieces incorporated. The line was created and designed by Jorn Langberg, Artistic Director of Christian Dior London. We were able to date this gorgeous set by the photo that appears in the November 1968 issue of Vogue. It is exceptional and the textile it is made from is one of the best I have seen from Dior. 

The fabric on this Dior set is jaw dropping. It is a woven gold silk lame brocade with a raised design that gives it remarkable texture. Depending on how the light hits it different aspects of the pattern come to play. It is just incredible. It is made from real metal thread and when you touch it it has a slightly metal feel to it. All three original pieces to the set are present. The very inner layer is a skirt that is suspended from a sleeveless top made out of lining fabric. This is a technique that you no longer see done because of the extra fabric it used and longer zipper requirements but it was the proper way to have a skirt hang perfectly and be the most comfortable for the wearer. Over this is a sleeveless shell that opens up completely down the back with a zipper. It is cut to perfectly fall just over where the skirt underneath begins. It is cut with the slightest of curving in at the waist and each side is notched. Over both of these sits a box cut jacket with glove length sleeves and a simple collarless cut. The jacket is cut on the generous side purposefully. That full shape on the top and more fitted skirt underneath is so representative of this time period and when done by the hands of a genius like Dior, still feels timeless and fresh. The entire set glows like burnished metal and the fabric is unbelievable in person. The photos don't come close to doing it full justice. It is a exceptional piece. Excellent condition with a few small items to note below.

The skirt and top are both interlined in a brown silk organza. The jacket is lined in a brown silk crepe. The inner dress/skirt and the top both closs with a back painted metal zipper. The jacket has no closures. The jacket and shell both have weighted hems. Ribbon edged finishes and hand finished throughout. The inner dress's has been let out and you can see where this was done down the side and along the darts. The silk lining in the shell is beginning to shatter in places. Slight fraying to some edges. All very minor in person and do not detract. Please see the photos after the label shot. The jacket is meant to be worn over-sized.

Inner Dress
Bust: 21" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: 19.5" flat across from side seam to side seam
Bodice: 17" from shoulder to waist
Skirt: 19" from waist to hem

Shell
Bust: 18.5" flat across from side seam to side seam
Waist: 18" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 23" from neck to hem

Jacket
Sleeves: 19"
Shoulders: 16"
Bust: 20" flat across from side seam to side seam
Waist: 21" flat across from side seam to side seam
Length: 25" from neck to hem

Modern Sizing Equivalent: MED-LRG

Item# DD1696

Reference Photos: (1) Photographed by Arnaud de Rosnay, Vogue US, November 1968 / (2-3) 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 Western world in the twenties to fifties had a special fascination with the Far East and this highly influenced the fashion of that time period. Japan and China especially began to export and sell pieces made specifically for the tourist market that combined classic design elements of those respective cultures with a slight western twist to the cut and colors. You will often see the cropped jacket versions of these come up for sale but these longer pieces are a little harder to find and far more versatile. These were the most prized both then and now. This one is stunning and done in a high grade fine black silk with off white detailing to contrast the cuffs, collar, front and hem. Over this it is embroidered with absolutely brilliant colours. The pattern embroidered onto the silk with its combination of brights and pastel tones is exquisite. This one is a little extra special since it is an earlier piece and the embroidery work is done by hand. It is lovely and light which makes it so easy to wear. This one is not 100% perfect but still has lots of life left to it if you don't mind wearing vintage with a flaw or two. Presents as excellent condition at first glance but does have flaws as noted below.

Fully lined in black tissue silk, it closes with frog knots at the front. There is some shattering to the silk through parts of the ivory borders and an area around the bottom front knot that has shattered and torn. Slight grubbiness along the edges. The last two photos show examples of the areas described. It is in fabulous shape other then these areas. The loose cut should fit a range of sizes. This is sold in as found condition and as a final sale.

51" from the end of one sleeve to the other flat across
Bust: 21" flat across from side seam to side seam
Waist: 23" flat across from side seam to side seam
Hips: 25" flat across from side seam to side seam
Length: 45" from neck to hem

Modern Sizing Equivalent: XS-LRG

Item# C571

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

The twin of this dress walked the runway for the Fall 1987 collection and a version of it pink was used for the fall ad campaign that year. I love the pink version as well but think that the all black is perhaps even more wearable for a larger variety of occasions and the velvet gives it a more luxe evening feel.

The dress is lovely with its strapless, curved bodice and fitted silhouette. The main fabric that makes up the body of the dress is a rich, lush black velvet that gives it depth and texture. This is then mixed with black silk organza ruffles that detail the dress. I absolutely love the ruffle detailing that finishes the edges and the contrast of the two fabrics. This is a classic YSL touch and gives it a flirty, girlie feel that it would not have without that finish. The ruffles edge the curving neckline, curve around to highlight the bust area, and then go all the way around the back. At the hem he has used three full layers of the ruffle set almost on top of each other so that you get a little explosion of volume there. Everything about the cut of the dress is done to highlight the curves of the body from the way the ruffles are set on the velvet to the fitted and curved lines of the body of the dress. It is wonderful. Excellent condition

Fully lined in a black cotton fabric and the interior bodice is lightly boned for shape and support. Inner waist stay that hooks to close  and the back closes with a fine metal zipper. Tagged a vintage YSL 44

Waist at inner waist stay: 14.5" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 32" from top of bodice to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3092

Reference Photos: (1-2) Cherie, Owner of Shrimpton Couture, by Erin Leydon.  /  (3) Naomi Campbell for Yves Saint Laurent Rive Gauche, F/W 1987.  /  (4) Fall 1987 Yves Saint Laurent Look Book.

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 am very pleased to begin presenting a collection of Bill Blass pieces from a woman who was a close personal friend of Mr. Blass for many years. Many of these pieces were custom made or tweaked specifically for her and all of them are in exquisite condition, having been stored and cared for properly over the years. These are rare and hard to find example of his work from the late 1970s and into the 1980s. Some may be the only version of its kind that were made. The family would also like it to be known that their portion of the proceeds from each sale will be donated to charity.

This is one of the best known of Bill's pieces during this time period. Lynn Wyatt was photoed wearing the jacket alongside of Bill himself and it was also featured in the book 'Bill Blass: An American Designer'. This version is even more special because my client's mother had the skirt made in that same gold brocade that the jacket is made out of. The lines of the suit are beautiful and I am glad to have found reference photos that give you an idea of just how great it is once on. The fabric is beautiful and the design covers every inch. It is a rich silk brocade on black and I love how you can see the threads within the gold and how these add to the texture of the pieces. The jacket is sleek with lightly padded shoulders and long sleeves. The waist curves in and the hips are cut on a rounded curve that is quite beautiful. I love the inverted pleat that opens out on either wide of the waist. This adds to the rounded curve around the hip. The skirt has a bit of that same rounding curve through the hip. The waist of the skirt is brought in by vertical seaming and then falls to about the knee in a simple and chic sheath. Everything about the cut and line of the suit is done to allow that gorgeous fabric to shine. Excellent condition

Both pieces are fully lined in silk. The skirt closes with a side set zipper. The jacket closes with hidden snaps at the front and hook & eye at the neck and waist. It looks to have been worn very little if at all

Jacket
Sleeves: 24"
Slightly inset shoulders: 15.5"
Bust: 20" flat across from side seam to side seam
Waist: 18" flat across from side seam to side seam
Hips: 21" flat across from side seam to side seam
Length: 29" from neck to hem

Skirt
Waist: 16" flat across from side seam to side seam
Hips: 21" flat across from side seam to side seam
Length: 23" from waist to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3259

Reference Photo: (1) Angela Shelton wearing gold, silk brocade dinner jacket by Bill Blass, Fall 1991. Photograph by Gideon Lewin. From the book 'Bill Blass: An American Designer'.  /  (2-3) Bill Blass & Lynn Wyatt, March 5th, 1992.

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 Fall 2008 shows was perhaps the one that Pilati's time at YSL is most remembered for. The shocking bowl hair cuts on every model an the stark black lip were instantly seen around the world. Vogue's review of the collection, by Sarah Mower,  stated in part: "They looked like an army of futuristic female automata, marching out in identical black-bowl wigs and black lipstick, some with their eyes blanked out by narrow slivers of wraparound sunglasses...It made one of the season's most joltingly dramatic contributions to the current dialogues about tailoring and austerity.... it threw up some fine pieces, like jackets with swaggering, flying tails ... Something about the carapace stiffness of these garments, the sense that the clothes are molded rather than fitted, puts Pilati in line with other designers, like Nicolas Ghesquière, who are pushing fashion away from the body and toward something new. In Pilati's case, the impact—with its almost complete abnegation of romanticism and traditional femininity—was a shock. Still, fashion sorely needs those who dare, and this is a collection whose controversial content and implications will be discussed and dissected for months to come."

This was Look 37 in the show and was the second to last piece shown to close the show. It is a jacket that zips up at the front and has exactly what was described above, swaggering, flying tails, as well as exaggerated hip panels and a cut that glides away from the body to create a abundance of volume as it nears the hem. The front is just a touch too short to properly get away with it as a dress, though I did belt it with my own belt and then put it over dotted tights and a pair of boy shorts for the photo that I have included here of myself in it. On the runway it was layered over tapered pants and a thin, silk cami. It is collarless and zips up the front with a big chunky zipper that has the YSL logo embossed onto it. When the jacket reaches the hip, there is a angular panel of fabric sewn around the hips that create a tremendous pannier effect on either side. The way it is placed makes it feel like there are layers of the fabric there  and it is quite ingenious. It is also cut to feel very voluminous for its actual tagged size. The cut is very generous. The entire jacket is covered in hand sewn, glossy black metal sequins that give the coat its futuristic feel. It was never worn so like buying new. Excellent condition.

Fully lined in a black silk and zips to close at the front. Tagged a 38 FR but very generously cut through the body so if the shoulders work then it should fit a range of sizes

Sleeves: 23"
Shoulders:15 "
Bust: 19" flat across from side seam to side seam
Waist: 19" flat across from side seam to side seam
Hips: open
Length: 32.5" from neck to front hem, 42" to the back hem. The longest points of the front hang to 45" from the neck

Modern Sizing Equivalent: SML-LRG

Item# C520

Reference Photos: (1-2) F/W 2008 Yves Saint Laurent Runway, Look 37. Model: Aline Weber.  /  (3) Cherie, Owner of Shrimpton Couture/

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

This particular dress was one of the standouts of the Fall 2009 Gucci presentation collection. On the runway it was shown as a mini and in Vogue's review of the show it was mentioned specficially; 'With the slicked-back hair, crimson lips, and mirrored shades, it was hard glamour for hard times, with the occasional half glance back at Tom Ford's heyday in a blue fox chubby or a skimpy one-shoulder black jersey dress with a slice of patent in the neck.' And it is indeed a dress that you might think was a Tom Ford at first glance. The shorter version was used in the extensive ad campaign that season as well. When it was sent to the stores they produced it in this longer version as well as the short. This one has its original tags and was never altered so is in its original supermodel length. 

The dress is made out of a silk jersey that has incredible drape and movement. It is cut supermodel length and then some. Even on my tall dress form it went well past and puddled on the floor. This is a dress that is meant to come to life once on the body. You kind of have to look at the runway photos and then imagine the skirt falling all the way to the floor and what an incredible impact that would make. It is cut with a single sleeve that come out wide from the shoulder and waist and then narrows down as it reached the wrist. The neckline is then angled across the front and at the back it dips into a low angled cut that is set quite deep to the side. This leaves the majority of your back exposed and is very sexy. The dress skims over the body from there and falls to the floor. At the back there is a very high slit partially hidden by the overlapping of the fabric and this lines up right under the post of the open back. The neckline is accented by a strip of patent leather that has a holographic finish to it that subtle catches the light in a rainbow of colours. It's fantastic. Still has its original tags attached and has never been worn. Excellent condition 

There is a second layer through the body in the same stretch jersey as the outer layer. It closes with a hidden set side zipper and there is an inner waist stay that hooks to close. The sleeve is a single layer of the fabric and has a button and loop to close. The dress has its original tags and even an extra button for the cuff. Tagged a size 44. The dress has stretch so should fit a range of sizes. 

Sleeve: approx 26"
Bust: is variable as there are no true side seams with how it is cut
Inner elastic waist stay: 13-18" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Length: 69.5" from top of shoulder to hem

Modern Sizing Equivalent: MED-XL

Item# DD3599

Reference Photos: (1) Fall 2009 Gucci Runway. Look 33. Model: Freja Beha Erichsen.  /  (2-6) Fall 2009 Gucci Ad Campaign.

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 was shown as Look 30 for the Fall 2016 Rosie Assoulin show and it was only offered for sale through the trunk show feature at Moda Operandi. Meaning that only the few dresses pre-ordered were produced in this style making it a rare piece of her work. This dress still has both its original Rosie Assoulin tags and the Moda Operandi tags attached and is in unworn condition. 

This dress is amazing and if you are not afraid of a strong colour then you will love the statement it makes. The yellow is incredibly vibrant, it is almost a neon and in real life is even a touch more of an true bright lemon yellow then the tone it photoed. The fabric is light weight, yellow embroidered wool on a crinkled silk chiffon. It is very easy to wear. When the ties are not done up the dress has an almost caftan feel and is cut very loose and easy through the entire body. The design is quite clever. Long ties loop through the plunge at the front neckline and then extend out for several yards. There are little double sided loops that slide and move along the ties that you can adjust to sit where you wish. These help to hold the ties in place and create a halter feel as you wrap them around your body. The front has a little squared off plunge that sits quite deep and the the neckline is cut wide and meant to sit almost off the shoulders. The ties help to suspend and hold it in place as you see it in the reference photo. The dress falls from there in a widening line to the floor and it is cut supermodel long. The sleeves are spectacular and were a cornerstone of this collection. They are each very full and voluminous with ties at their cuffs so you can cinch them in to where you wish. It is a remarkable dress and stunning on. Excellent condition. 

The dress is interlined in a matching yellow silk organza. It slips on over the head and you can adjust the attached ties as you wish. Comes with an additional tie as well. All tags attached as per above description. Tagged a US 8. The easy cut should allow it to fit a range of sizes

Sleeves: 15"
Wise set shoulders: approx 16"
Bust: to 19" flat across from side seam to side seam
Waist: to 21" flat across from side seam to side seam
Hips: open
Length: 62" from top of shoulder to hem

Modern Sizing Equivalent: SML-LRG

Item# DD3497

Reference Photo: Fall 2016 Rosie Assoulin Collection, Look 30.

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 Swash Buckler top is from the Fall 2017 Rosie Assoulin collection. On the runway this same print was shown on the finale gown. These tops were a hallmark of the collection and their high drama is an easy way for a modern girl to step out in the evening and be able to pair it with pants or a skirt and still get a high glamour feel. The top is an amazing feat of proportion and cutting. The front has a v-neckline with loose ties at the neck. This tops a curved yoke and then the body of the top flares out under that. The fit through the body is relaxed and the sleeves are cut into fantastical bubble sleeves. They are set low on the sides and then pouf out and are cut on a curve so that they follow the arm and maintain the same pouf from the shoulder to the cuff. The cuffs are cut extra long and slit so that you can wear then unfolded and over the hand or flip them up. The back has a ton of volume and the choice of the fabric keeps it light and airy in feel. I love it. Excellent condition

It is constructed from a double layer of the organza. It slips on to wear with ties at the neck. Each cuff has two silk covered buttons and loops to close. Tagged a modern brand size S but the cut is very generous so it should fit a variety of sizes.

Sleeves: 27" from shoulder to longest point of cuffs
Shoulders: approx 16"
Bust: to 19" flat across from side seam to side seam
Waist-hips: open
Length: 28" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# S898

Reference Photo: Rosie Assoulin Fall 2017 Collection, Look 41.

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 Western world in the twenties to fifties had a special fascination with the far Eastand this highly influenced the fashion of that time period. Japan and China especially began to export and sell pieces made specifically for the tourist market that combined classic design elements of the respective cultures with a slight western twist to the cut and colors. You often will see the shorter jackets come up for sale but the coats are a little harder to find and far more versatile in my opinion. These were the most prized both then and now. This one is stunning and done in a high grade, fine red silk with off white detailing to contrast the cuffs, collar, front and hem. Over this is is embroidered with absolutely brilliant colors. The floral pattern in its soft pastel tones and the overall design are exquisite. Its lovely and light so easy to wear. This one is not 100% perfect but still has lots of life left to it if you don't mind wearing vintage with a flaw or two. Presents as excellent condition at first glance but does have flaws as noted below.

Fully lined in red tissue silk, it closes with frog knots at the front. In person it is a more vibrant red with a slight cherry cast to it. There is a dark mark at the front and the fabric has thinned, I see grubbiness and spots to the cuffs, fraying along the side slits, on one arm and some small interior fraying and shattering. I have photoed all the areas and these photos can be seen after the label shot. It is in fabulous shape other then these areas. Priced accordingly. The loose cut should fit a range of sizes. This is sold in as found condition and as a final sale.

50" from the end of one sleeve to the other flat across
Bust: 21" flat across from side seam to side seam
Waist: 22" flat across from side seam to side seam
Hips: 24" flat across from side seam to side seam
Length: 43" from neck to hem

Modern Sizing Equivalent: XS-LRG

Item# C514

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 gorgeous Valentino Haute Couture dress from the early to mid 1980s. It is beautifully made and a wonderful example of Valentino's Haute Couture work that he was doing during this time period. I love this backless version with its low front plunge. It is a little sexier then some of his couture work tends so be but it still has that refined elegance that you would expect from him combined with a bit of pure drama created in that moment when you first turn around and see that bare expanse of skin. 

This dress is wonderful. In person it is even better then how it photoed because like all couture it really needs to be on an actual body to come to life and sit properly. The cut has been kept fairly simply but is still sexy with its plunging halter bodice and long skirt that falls to the floor from under the banded waist. The dress is made from a lightweight bias cut silk in a deep charcoal black-grey colour. Onto the silk is a graphic floral leaf design in a deep ivory that covers the entire dress. The bodice is cut into a halter style with wide straps that curve up and behind the neck to leave the shoulders bare. The two panels of the front cross over themselves and dip into a V at the front. It then curves around waist at the lower back and this leaves the back completely bare. The waist is defined by a wide panel of black silk that is gathered and shirred. The ends of this banding extend into very long ties that you can wrap and tie or simply loop at the side and leave to hang long as I have down for the photos. Under that the skirt flows to the floor and gradually widens out just a touch as it nears the hem. The inner conduction is all down to Haute Couture standards and is interlined in a silk chiffon so that they dress stays wonderfully light but still very well constructed. It is a beautiful example of his earlier haute Couture work. Excellent condition with one minor note below

Fully interlined in a black silk chiffon and closes with a low set zipper at the side below the waist and then silk covered snaps and hooks above that. The hem looks to have been taken up at some point. Hand finishes throughout. Done with Haute Couture construction techniques. Inner waist stay hooks to close.

Bust: to 18.5" flat across the back side seam to side seam with generous fabric at the front
Waist: 15.5" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: approx 16" from top of neck to top seam of the band at waist
Skirt: 44.5" from waist to hem with 2.25" turn up under the hem

Modern Sizing Equivalent: MED-LRG

Item# DD3593

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

Halston used this sequin technique predominantly between about 1973 to 1978. Instead of layering and overlapping the sequins, they were laid out flat, side by side, to cover every inch of the fabric. The Fall 1976 collection featured this asymmetrical neckline heavily and I have included reference photos of jersey versions of the dress from both The Met and the Boston Museum of Fine Arts. In December of 1976 the New York Times wrote that: 'This season there are three things that the ladies must wear: Adolfo's taffeta skirt, Halston's asymmetrical neckline and Mollie Parnis's tunic and satin pants.... Babe bought the first asymmetrical neckline dress and Jackie bought the second. If you do not know their last names you do not know the ladies.' This is a stunning and rare version that is full sequinned and could not be more of an impact once it is on.

The dress is made from a black stretch jersey for the inner layer, which also acts as the lining, and then the outer layer is made out of the same fabric but in a lighter, thinner weight than the inner layer. That outer layer is what the sequins are attached to. The sequins have all been placed and attached by hand and completely cover the dress from shoulder to hem. The sequins are a deep gunmetal grey/black and depending on the light they can reflect back as a true black, a deep grey, a lighter grey or even have a touch of a blue grey tone to them. This makes the dress absolutely incredible to see in person. The technique used of placing the sequins flat and side by side also allow the light reflecting off the sequins make it seem like you have been poured into a liquid metal. The sleeves end just about the elbow and the bust is cut to mold to your curves. It skims over the waist, hugs the hips and then flares out slightly as it reaches it's supermodel length hem. That signature neckline dips deeply to one side to expose the upper chest and this is mirrored at the back. It is amazingly comfortable to wear because of the stretch of the jersey. Excellent condition with a note below.

It closes with a hidden set, side zipper and the fabric has stretch. Fully lined in a black stretch jersey as described above. Hand set sequins and wide ribbon, hand set inner hem. There is the occasional sequin missing but there are sequins in the inner seams that could be used if this bothered you. It is so densely covered that its somewhat irrelevant. Some of the sequins show a little patina on their finish. The one shoulder above the dipped side felt slightly stretch on me, though I think that on a taller girl it would be fine. It would be an easy adjustment if needed at all. The stretch of the fabric should allow it to fit a range of sizes and the measurements below are the comfortable range when lying flat.

Sleeves: 14"
Shoulders: no defined seams
Bust: 16-19" flat across from side seam to side seam
Waist: 13-16" flat across from side seam to side seam
Hips: 19-23" flat across from side seam to side seam
Length: 62" from shoulder to hem

Modern Sizing Equivalent: SML-LRG

Item# DD3243

Reference Photos: (1) 1976 Halston Evening Dress from The MET Online Collection.  /  (2) 1977 Halston Dress from the Museum of Fine Arts Boston Collection.  /  (3-5) Cherie, Owner of Shrimpton Couture.

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