This is the second time I have had a version of this dress in the shop and I think this one is in even nicer condition then the first was. I love finding Donald Brooks pieces, they are extremely well made and his main label pieces, like this one border on couture in their construction. His main line was basically made to order pieces. Brooks launched his main line label in 1963 with a collection for the Spring 1964 season. He quickly became one of the most sought after of the American designers and his client roster included Mrs. Kennedy, Claudette Colbert and Faye Dunaway. The New York Times said that he was one of 'the three B's of fashion' alongside Bill Blass and Geoffrey Beene. He helped to launch the American Council of Fashion Designers, won three Cody Awards and he designed the costumes for numerous Broadway plays. He launched a secondary boutique line 1971 but by 1973 both of his self named labels shuttered as he chose to focus on his costume and stage work which was really his first love.

This remarkable dress is one of the best pieces I have had in by Donald Brooks. The workmanship and fabrication of this dress is an absolute dream. The fabric is very special and one of those fabrics that you will only ever find in a really great vintage piece. It is a rich and intricate combination of a chenille cording that is coiled and hand stitched into place over a metallic black lace base. The chenille cording gives it this beautiful soft feel and adds dimension and texture to the dress. The netted and embroidered lace that it sits on has a metallic finish at its edges and an open weave so that you get this very subtle sense of seeing little glimpses of skin through the pattern. For the final detail the fabric has glossy black sequins that have been hand sewn and stitched into place to follow parts of the curving design of the chenille. The lines of the dress are kept fairly simple so that the fabric can take center stage. The bodice dips into a V at the front and is more fitted to the body. Inside there is a little weighted piece that sits at the base of the V inside the lining so that it sits perfectly when on. The bodice then narrows into the waist that is set just upwards of the natural waistline. A satin finished sash is attached to add detail and then the skirt flows out from there widening out as it nears the hem. The sleeves are gorgeous. Each sleeve widens to be very full by its end and I love how the ends are finished with a scalloping. That same scalloped detailing finishes the neckline and hem as well and that little bit of a metallic detailing on the underlying lace that peeks out around the edges is just fantastic. It is truly really a work of art. Excellent condition

The bodice is lined in a nude lingerie weight netting and the skirt is lined in an inner nude silk. The sleeves are unlined. The inner skirt closes with a zipper and the the outer skirt snaps over that. The back buttons to close with hand covered silk buttons and loops.

Sleeves: 21"
Shoulders: no true defined seam
Bust: to 18" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Bodice: 14.5" from top of bodice to waist
Skirt: 37.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3724

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

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

This is a killer dress. It is really one that will come to life once on an actual body and I hope the photos convey enough of how fabulous it is because when worn this one will be even better. The upper bodice is made out of a black netting that has embroidered flowers worked through it. Each flower design is finished with a series of curved and looped rows of sequins. There is no backing to the netted parts of the design and it is set to dip well under the bust at the front and then dips low at the back. This same netting has been used to make up each long cut sleeve. This gives you a semi-transparent coverage over these areas and this is where that mix of sensuality and sexuality that his work always has becomes so apparent. Since your bodice is left exposed with the way the netting is laid out, you have the choice to wear it as bare as you dare.... you could wear nothing under it, wear just nipple covers, or do as much or little coverage as you wish with bras, bandeaus or camis. The rest of the dress is made from a bias cut black opaque silk that sits and drapes beautifully around the body. It is set to give the illusion that it simply wraps around you like a sarong and has a hip swag on one side that gives it a bit of a forties feel. The skirt is curved and wrapped and the edges of the skirt and the swag are finished with a band of the same sequin netting as the top. The skirt is cut to narrow in around you as it nears the hem. This brings all the emphasis to the curves of your body above. The way the skirt is wrapped leaves it open right to the swag and there is a built in mini skirt underneath to keep it from exposing everything when you walk or move. If there was ever a dress that needed a body inside of it to bring it to life, this is it. It is stupendous once on. Excellent condition

There is a partial lining set from under the netting part of the top to the top of the thighs. The rest of the dress is unlined. It closes with a back set zipper and each sleeve has a button and loop closure. It appears to have been worn very little if at all

Sleeves: 22"
Shoulders: 15"
Bust: 16-19" flat across from side seam to side seam
Waist: 13-15" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 56" from top of shoulder to longest point of the back hem

Modern Sizing Equivalent: SML-MED

Item# DD3723

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 the last of this batch of amazing pieces from my client whose aunt had most of her clothes made. This one, like several others already in the shop, was made by Ady Couture and the story behind this label is fascinating. Ady Couture was based out of Lausanne Switzerland. She would buy couture fabrics from the couture houses along with the patterns, and then with permission from the ateliers, would make copies of the pieces presented in the Haute Couture collections from those ateliers  When she was younger, and lived in Amsterdam, Ady would travel to attend the private viewing and purchase directly from the couture houses and built up strong relationships with them. My client believes that negotiating the arrangement to make things at her own atelier was a way to work around customs and that is what prompted Ady to negotiate this unusual arrangement with the various couture houses. In my hunt for more information I have been able to verify that they made permissible copies of the work of Yves Saint Laurent, Christian Dior, Givenchy, Lacroix and Ungaro. There may have been others but this are the houses I am confident on. Both the skirt and jacket in this set have been completely made by hand to Haute Couture standards. I am sure that this one is based off of a YSL suit as it has all the hallmarks of his work during this time period.

I love this more formal full length skirt and the fact that you can mix and match the pieces of this suit with other things already in your closet. The jacket is tailored with strong shaped and padded shoulders. It is box cut through the body and meant to be slightly over-sized in the way it sits through the shoulders. It has a belt that came with it and that is used to cinch in the waist and create shape. The collar is angled and strong. Large red buttons with a stripe of gold metal run down the front. More of these same buttons run down each cuff and all of the buttonholes on the sleeves are functional. Pockets are top set on the hips and a third pocket sits on the breast of the jacket. The color is a strong bright red and the fabric is ribbed which gives it a wonderful texture. The skirt is cut in a long column of a fine black wool that falls to the floor. There is a black, flat braided detailing that runs down each side to give the suit a subtle nod to a tuxedo. High slits run up each side of the leg so when you walk or sit you get a glimpse of leg. It is very striking and strong silhouette. And it is completely made to Haute Couture standards. Excellent condition with a small note below.

The skirt is hand lined in a black silk and the jacket is hand lined in a red silk. The jacket buttons to close down the front. The skirt has a zipper and hook & eye at the waist. Hand made padding in each shoulder. Couture finished inner seaming. I see a faint spot near the pocket of the jacket and the fabric behind the belt at the front shows faint rubbing. Please see the photos after the label shot. The skirt appears to have been worn very little if at all. Made to Haute Couture standards with a tremendous amount of detail put into its construction.

Jacket
Sleeves: 22"
Padded shoulders: 18"
Bust: to 21" flat across from side seam to side seam
Waist: to 19" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 25" from neck to hem

Skirt
Waist: 14.5" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 41" from waist to hem
Slits: 19.5" from hem up

Modern Sizing Equivalent: MED-LRG

Item# DD3721

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

The Nina Ricci brand was founded in 1932, at 20 Rue de Capucines in Paris and quickly became one of the top couture ateliers in the world. In 1964, Gérard Pipart succeeded Jules-François Crahay, Nina Ricci's former designer assistant as head of the brand. Over the following three decades, Pipart's couture vision 'celebrated a flamboyant woman and his ready-to-wear found a loyal following among the most stylish women of the day.' This dress is from the Fall 1994 collection and I have included the runway reference photo here. In an interview with WWD in 1995, Pipart was asked about the state of couture upon his arrival to Nina Ricci and I love his reply; 'When I arrived everyone was predicting the death of couture, so I was keen to get in for what were meant to be the final few years. And despite what people like Pierre Bergé and many others predicted, couture has lasted a lot longer than anyone ever thought.' Pipart's designs for the Couture collections often combined high fantasy elements and this dress with its ultra long back is an amazing example of his work during this time period. 

The twin of this dress walked the runway of the Fall 1994 collection and prior to coming from me it was worn by a bride who shared some of her photos with me that you can see on my Instagram by clicking here.

The dress is absolutely beautiful and every detail has been done by hand. It has been cut so that every seam is finished with a beautiful curved line. The construction lends itself to a very structured shape and this gives the dress an almost sculpted feel that is softened by the pale pink silk color of it. It is made out of a fine silk faille that is then covered with a layer of lace The lace is handmade and follows the exact cut of the dress. Within the lace is a floral design and each cluster of flowers have been outlined with a fine silver metallic cording. Then to detail the inside of each flower he used a pale pink metallic cord. The workmanship is extremely fine and the details are exquisite. The hours to do this would have been staggering. Every stitch is done by hand and the work is meticulous. The dress under this exceptional detailing is as exquisite. The neckline is scooped and the bodice is cut to skim over you. It gently curves in at the waist and then there is a seam that sits at the top of the hips where the skirt meets the bodice. At the front the skirt is set into two curving panels that have a very structured shape so that they curve out and away from the body. They cross over each other at the top near the seam and then curve away from each other as they near the hem, leaving an opening so that when you walk you see a glimpse of leg. Soft pleats sit just below either hip towards the side and these add volume and lift to the skirt. At the back the skirt curves around you and you see a repeat of the two pleats at the outer side for volume. The two sides of the skirt open where they meet at the seam  and there sits a panel of pale pink silk that is pleated so that it expands and opens into an extensive train. A decorative row of hand made silk buttons run up each sleeve and then a series of them run down the back. This would be an amazing choice for a bride who does not want a traditional wedding dress or as part of a wedding event. Excellent overall condition with a note to review below.

The dress is fully lined in hand set pink silk and closes with a back hand set zipper that is hidden set behind the row of buttons that run down the back. There is a hooked inner waist stay. Hand set snaps close the train over the inner zipper.  Each cuff zips to close behind the row of buttons that runs down the cuffs. The dress is finished to Haute Couture standards and entirely made by hand. The proper Haute Couture label is present. The pleats have softened a little on the train and the dress shows some grubbiness under and along the back hem and train. There is some interior discoloration around the arms of the inner lining and one teeny spot where this shows through along the edge of the seam on the exterior. Please see the photos after the label shot. My client had the side seams let out slightly by Madame Paulette's in NYC and the train re-pleated before she wore it. All other small flaws were present already when she purchased it

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

Modern Sizing Equivalent: SML-MED

Item# DD3080

Reference Photo: F/W 1994 Nina Ricci Haute Couture

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

Loris Azzaro launched his label in 1967 and quickly defined his trademark looks with his use of ornate beading, sequins, unusual detailing, daring cut-outs and avant garde ways of defining the body. Some of the most beautiful women in the world wore his clothing including Marisa Berenson, Raquel Welch, Jane Birkin, Sophia Loren, Brigitte Bardot and Tina Turner. It was a label that defined sexiness and had a certain French flare that women world-wide loved. This is an extraordinary dress that is stunning in its own right and could be a fantastic option for a bride or as part of a more extensive wedding event.

The dress is like a magical fairy tale version of all that was amazing about this time period. It is made out of an off-white silky rayon base with three layers of white silk netting over that and another built in skirt under it. He used a white chenille fused onto the netting to detail and highlight the different aspects of the design and cut. On the strapless bodice it is set in rows that are stacked on top of each other to cover the entire bodice. On the sleeves and over the top layer of the skirt the chenille makes little circles and these are scattered over the netting. The very top layer of netting the skirt is finished with is cut to sit shorter then the other two underneath and this top layer has a scalloped finish along its edge. It is then finished with more chenille that follows the pretty curving line the scalloping creates. The cut of the dress is beautiful. The bodice is strapless and curves into a sweetheart neckline that dips low at the front. There is one of his signature inner built in and attached bras inside for support and additional boning along the sides. It is fitted and nips in at the waist. The skirt sweeps to the floor in a cascade of feather light silk netting under the bodice. I photoed the dress with a full length crinoline under it so that you can see the tremendous shape and volume it has. Without the addition of an underskirt the skirt would lie in a softer line. The skirt has enough volume that you can add an even fuller skirt to get a real bell shape if you wanted it to have an even more formal gown feel. The sleeves are magnificent. Each one is cut to sit far off and down your shoulder and is trimmed with a silk satin ribbon finish around the upper opening. They have tremendous volume through the sleeve with a huge and elaborate pouf to them. Each of them ends in an elaborate cuff with the same detailing using the chenille rows that the bodice has. They are the perfect finish to this high fantasy gown. The workmanship is incredible and it is absolutely beautiful. This would make an extraordinary wedding gown for the bride looking for something unique. Excellent condition

Fully lined in an ivory silky rayon and closes with a back zipper. Each sleeve has a zipper at the cuff. A built in bra though the bodice that hooks to close separately. The interior bodice is boned. An inner skirt has bands of stiffened netting set in rows to help hold the shape. The slightest bit of yellowing to the edge of the inner lining hem. You could easily add a panel/layers of tulle or silk tot he bottom if you needed more length

Bust: 17" flat across from side seam to side seam with about a B to C cup on the inner attached bra
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 8.5" from top of bodice to waist
Skirt: 38" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3720

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 recently had a version of this dress in the shop that had a darker backdrop to the flowers. I am so pleased to have another one so soon. This one is even a little more special because it is an exact match to the one we have so much documentation on. The twin of this dress was used for the 1992 ad campaign that was shot by Helmut Newton. That campaign featured the beautiful Karen Mulder. It was also featured in Vogue that season on the equally stunning Beverly Peele. And if that was not enough we also have the original runway footage so you can see just how gorgeous it is on and moving. In the Vogue editorial it also included some interesting information that tells us that the original retail price of the dress was $1695USD, which would be the equivalent of $3009USD in today's dollars. Yves pieces are only increasing in value each year and this one is still a bargain even at its higher price. It is pristine and a very collectable vintage piece due to its strong provenance. This was one of the iconic pieces of that season and I am very pleased to have found this one.

The dress is made from a soft silk that has a slight texture to it. It has just enough weight and drape to it to perfectly fall once on the body, skimming over your curves in a chic and simple line. The dress perfectly represents this time period and you can see the transition from the stronger, more angular shaped of the eighties slowly moving into simpler shapes for the 1990s while still retaining the emphasis on the shoulders that the eighties had. That touch of excess from the 1980s is still there, but the shape is softening. The neckline is scooped and set wide so that you get a glimpse of collar bone. Vertical seaming runs down the front on either side so that is has some shape but there is no break in the line that a waist seam would have made. The skirt is slim and straight. The sleeves are the star of the show and each has an elastic at it end and lots of gathered fabric above that that gives it the volume you see on the dress form and the two reference photos provided.  It is amazing on the body and a rare find. Excellent condition

Fully lined in a white silk through the body and a silk chiffon through the sleeves. It closes with a side set zipper. Elastic at the end of each sleeve. 

Shoulders: 14"
Bust: 17" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 35" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3716

Reference Photos: (1) Karen Mulder for Yves Saint Laurent, Spring 1992. Photo by Helmut Newton.  /  (2) Vogue US, March 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.

This is another amazing piece from my client whose aunt had most of her clothes made. This one, like several others already in the shop, was made by Ady Couture and the story behind this label is fascinating. Ady Couture was based out of Lausanne Switzerland. She would buy couture fabrics from the couture houses along with the patterns, and then with permission from the ateliers, would make copies of the pieces presented in the Haute Couture collections from those ateliers  When she was younger, and lived in Amsterdam, Ady would travel to attend the private viewing and purchase directly from the couture houses and built up strong relationships with them. My client believes that negotiating the arrangement to make things at her own atelier was a way to work around customs and that is what prompted Ady to negotiate this unusual arrangement with the various couture houses. In my hunt for more information I have been able to verify that they made permissible copies of the work of Yves Saint Laurent, Christian Dior, Givenchy, Lacroix and Ungaro. There may have been others but this are the houses I am confident on. The dress is completely made by hand to Haute Couture standards and it is incredible.

This is a dress that when you see it on the hanger is really doesn't look like much but the second it hit the dress form it came to life. I can only imagine how amazing it will be once on an actual body. It is made out of a rich liquid silk satin that drapes and falls over the body beautifully. The bodice is cut to drape into place in a loose and easy way and then it nips in at the waist. The skirt below that hugs the hips and is scooped upon at the front. A long attached tie drapes over the scoop at the front and makes it wearable (barely) as a micro mini if you dare to wear something this short. If you are not as brave you could wear it with opaque tights or as a top over pants or a skirt. The panel that is attached around the waist hooks into place and then the hooks extends up and below with more hooks. This is how it closes and when you unhook it the entire dress opens. There is a long open slit between where the hooks and above the waist and the hook that sits at the neck below the bow. What is fascinating about this one is that you could easily wear it either way on the body. I have photoed it both ways for you to see. It definitely gives the piece more versatility and you can style this one a million ways. It is gorgeous and that pop of bright colour is just spectacular. Inside it is completely finished to couture standards with every seam hand finished. I have taken some detail shots for you to see the fine workmanship. This is a very difficult fabric to work with and it is finished to perfection. It is an incredible piece and beautifully made. It appears to have been worn very little if at all. Excellent condition 

Unlined with couture finished inner seaming. The dress/tunic wraps around you and hooks into place at the waist and then has more hooks above and below that. Hand finished throughout. Softly padded shoulders and padding is also hand made. It appears to have been worn very little if at all. Made to Haute Couture standards with a tremendous amount of detail put into its construction.

Sleeves: approx 26"
Shoulders: no defined seam
Bust: is loose and open to 23" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: to 19.5" flat across from side seam to side seam
The length is very hard to measure because it is all bias cut... it is approx 36" long once on - you can adjust it uo or down a bit by pulling the bottom panel higher or lower

Modern Sizing Equivalent: SML-MED

Item# DD3717

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

This gorgeous little Oscar de la Renta is a part of the 1968 collection and its twin a longer yellow silk version is a part of The Museum at Fit's permanent collection. Versions of this dress were made in both lengths and in a couple of different colour ways. The label in the dress identifies it as being a part of his earliest main line. When Oscar De la Renta first started his career he began a partnership with the fashion house of Jane Derby in 1965. Jane Derby died shortly after and in 1966 the first labels that bore only the Oscar de la Renta name appeared. That makes this a very early example of his higher end work. The dress is gorgeous and one of my favourites from all the pieces of his that I have had over the years. 

The dress is very beautiful and is an absolute knock out once on. It is also very representative of his work during this time period. The fabric is quite exceptional and the silk metallic brocade forms a stunning design that runs from shoulder to hem. The fabric is lighter in weight then you would think at first glance. It is heavy enough to hold and retain the shape that he desired it to have but is still light enough so that it feels easy and comfortable to wear. It has a very refined feel to it but it feels youthful and fresh at the same time. It perfectly sums up Oscar's love of opulence mixed with the exuberance of the decade. The cut is kept simple to allow that stunning fabric to take centre stage. The skirt falls from the waist and widens out slightly as it nears the hem. I love the hidden pockets that are along the side seams of the skirt. The waist is seamed but left more on the open and easy feeling side rather than being severely cinched in. The bodice has simple sleeves and is cut to skim over the body. The fabric is a silk brocade that is a gorgeous mix of soft pastels that are primarily in pinks and a soft yellow in colour. Woven through that is a silver thread that adds a soft metallic shimmer over the entire dress. The front of the bodice is spectacular. It is cut to the waist but caught up with these high elaborate knots made out of silver braiding. Large crystal rhinestones are set into the coils. More silver cording and rhinestones follows the scalloped edges at the front and then more of the same runs around the waist and around the ends of both cuffs. It is gorgeous. Excellent condition with a minor note below

Fully lined in a bright yellow silk with ribbon finished interior seams. It closes at the back with a painted metal zipper. The dress is sewn together where the edges meet down the front centre and the knots closures are decorative only so that you just get a cut out effect there. The dress shows minor patina to some of the cord work and on a tiny part of the fabric near the arm. Please see the two photos after the label shot. The fabric has the slight feel of softness to it from normal patina and aging. 

Shoulders: 15"
Bust: 17" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: open
Bodice: 15" from shoulder to waist
Skirt: 23" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3718

Reference Photo: 1968 Yellow Lurex Brocade with Silver Oscar De La Renta Evening Dress from The Museum at FIT Collection.

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

Geoffrey Beene was one of the great American fashion designers and he was recognized for both his artistic and technical skills. He launched his label in 1963 and a piece from his very first collection landed the cover of Vogue. A Coty award followed a year later and in 1984 the Council of Fashion Designers created the annual Geoffrey Beene Lifetime Achievement award in honor of Beene's fashion legacy.

This dress is gorgeous. It is one of his signature looks to use lace  backed by a nude chiffon to create the illusion of bare skin underneath. We have all seen countless modern designs take their inspiration from his pieces like this and here we have a really exceptional original. It is really one of the best cocktail dresses from this period I have had. The workmanship is very fine. The dress itself is light in weight. It is made from a fine black netted lace that has black silk ribbon worked over the surface to make up the floral feel that the lace has. This also gives the dress a slight 3D texture that is very beautiful. Under all the parts of the dress that has the lace is a lining done in a nude silk that is very light and fine. The illusion lace is used for one sleeve, half of the bodice and the skirt. The other sleeve is a solid black silk. The solid silk then goes over the bodice as panels on both the front and back and then these extend out to ties that you wrap over to one side and tie just above the hip. I love how this is cut to curve slightly above the waist seam. Doing doing so creates this subtle secondary line between the curve and the seam that most designers would not have done or thought to do. The contrast that the play between the solid back and the lace creates is fantastic. Add to that the perfect fit where every seam is done to highlight and flatter the body. It is really an amazing dress and a testament to Beene's genius. Excellent condition with a minor note below.

Fully lined in a nude silk and closes with  back hidden set zipper. Each cuff zipper sot close. The exterior shows no wear. Inside the is a repair under in arm in the silk with very slight/minor change of colour there. Please see the photo after the label shot. It does not show at all on the exterior

Sleeves: 24
Shoulders: no defined seam
Bust: 17.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Bodice: 16.5" from top of bodice to waist
Skirt: 19.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3814

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

I have several interesting pieces coming that are from a client whose aunt had most of her clothes made. This dress was made by Ady Couture and the story behind this label is fascinating. Ady Couture was based out of Lausanne Switzerland. She would buy couture fabrics from the couture houses along with the patterns and with permission make copies of the piece presented in the Haute Couture collections. When she was younger, and lived in Amsterdam, Ady would attend the private viewing and purchase directly from the couture houses. My client believes that her arrangement with the ateliers was a way to work around customs that prompted Ady to negotiate this arrangement with the ateliers. In my hunt for more information I have been able to verify that they made this permissible copies of the work of Yves Saint Laurent, Christian Dior, Givenchy, Lacroix and Ungaro. There may have been others but this are the houses I am confident on. I feel that this particular dress has a very Christian Lacroix feel to it and it would have been made during the time period my clients aunt lived in Switzerland, from the late 70s to 1993. The dress is completely made by hand to Haute Couture standards and it is gorgeous

The dress is made out of an inky black velvet that reflects back the light around it remarkably. It has a slight bit of a texture to it that adds to that feel and it really adds a dimension to the fabric. The design is very Lacroix and has the feeling of his earlier work especially in the back with its open cut outs, bows and that flounce at the hem. At the front the dress has a very simple cut. The sleeves are long and slim down as they near the wrists. The shoulders are soft and rounded and the neckline is squared off and cut wide across. The dress skims over the body with just a suggestion of shape through the waist but there is no seam there to break the eye. The skirt flares out softly. simple and perfect. Then, when you turn around, the dress becomes pure drama. It starts with an angled diamond shaped cut out at the top that exposed the bare skin of the back. two panels of fabric that are finished with a black silk taffeta fold out on either side of the diamond and then a large black silk bow is placed at the centre. The seam under that hides the zipper and then there is a second bow just above the bottom of the skirt and over a flounce of fabric that extends longer then the rest of the hem. There is silk gathered underneath that bottom flounce for a bit of volume and if you really anted to exaggerate the line there, I feel that you could put a crinoline under the skirt that has all of its volume at the back. This would really create an interesting shape. It is gorgeous worn as is of course but I always love to have an option to create even more drama should the occasion call for it. The workmanship is of the highest quality and I had added an interior shot so that you can see how beautiful it is finished. It is completely finished by hand to Haute Couture levels. It appears to have been worn very little if at all. Excellent condition 

Fully lined in a black silk satin and closes with a hidden set back metal zipper. Each cuff zips to close. Light padding in each shoulder. Made to Haute Couture standards with a tremendous amount of detail put into its construction.

Sleeves: 24"
Shoulders: 15"
Bust: 17-18" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Hips: to 18.5" flat across from side seam to side seam
Length: 31" from neck to front hem, 36" to the longest point of the back hem

Modern Sizing Equivalent: SML-MED

Item# DD3815

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 exceptionally pretty two piece set from the Marc Bohan for Christian Dior years. It is a gorgeous example of his work during this time period. The cut is very simple for both pieces but together they really create an impact. The set is made from a very fine and high end silk chiffon that is a heavier weight then most chiffons that you see. This makes it almost completely opaque yet it is still feather light and drapes beautifully. No matter how much you like it on the dress form you have to trust me when I tell you that it is even better in real life and on an actual body.  The base colour is a jet black and then onto that are the bright and happy colours that you see from the floral design that runs over the dress. I love how the flowers have been set to highlight and compliment the cut. The top is densely covered with an even spacing of the floral design running over its entirety and then the skirt has a more scattering placement of the print. This gives a beautiful contrast between the two pieces. The neckline of the top is finished with a soft ruffled flounce and then the cut through the bodice is loose and easy under that. The waist is brought in with an elastic that runs through and circles all the way around. Under that is another flounce of fabric that you can leave out and over the top of the skirt or you can tuck it into the skirt for a sleeker look. The sleeves have an elastic at each wrist and the same flounce treatment for the cuffs. The cut of the skirt is kept to very simple lines and is falls in a simple column of silk to the floor that gradually widens out just a touch as it nears the hem. The label on the set is numbered and when you see that in a Dior Boutique label it most often meant that the piece was a special order or was a custom made order for a client in the atelier but fitted at the boutique store rather then in Paris. You can see the hand work throughout and it is beautifully made. Excellent condition.

The skirt is fully lined in a black silk chiffon and the top is unlined. The top closes with a fine back painted metal zipper. The waist of the top and each sleeve has an elastic finish for comfort. The skirt closes with a combination of a flat hook at the waist band and a fine painted metal zipper. Hand finishes throughout. The tag is numbered 1361/001 on both tags.

Top
Sleeves: 23"
Slight drop shoulders: 16"
Bust: to 19.5" flat across from side seam to side seam
Elastic waist: 12" -15" flat across from side seam to side seam
Length: 15" from neck to waist seam, + 6" from waist to bottom hem

Skirt:
Waist: 13" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 40" from top of bodice to waist

Modern Sizing Equivalent: SML-MED

Item# DD2901

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

Flora Kung was on of THE designers to wear in the eighties for the MTV generation. In an interview with the Chicago Tribune in 1985 she said 'I think it's my .... particular sense of daring and cleanness that appeals to the younger group... and the clothes continue to be spontaneous because I personally design everything.' She loved silks and satins for the way they draped on the body. This is a fabulous jumpsuit by her in a muted silver. No matter how much you like it on the dress form in the photos it is only going to truly come to life on an actual body where the fabric can drape and move with you. The shoulders are strong and the sleeves cut to slim down as they near the wrists. The top is cut with the loose and full volume that was the hallmark of the eighties. It has soft drapes coming out from the shoulders and falls in a deep plunge at the front. There is a snap that you can use to close the plunge a bit more or you can leave that open and wear it very open. I photoed most of these with it open but there is one shot with it snapped so you can see. It cinches in at the waist and has a sash in a matching fabric that you can tie around you to create more shape. The legs are cut in a long peg and depending on your height might fall slightly cropped on you. The fabric is the perfect soft silver and the satin choice makes it as light as a feature and easy to wear. Excellent condition 

Unlined and slips on with elastic through the back of the waist. Crosses over and buttons onto place at the front with a zipper underneath. You can cinch in the waist more with the matching fabric sash belt. Tagged a M and looks to have been worn very little if at all 

Sleeves: 22"
Shoulders: 15"
Bust: to 18" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam with elastic at the back for extra room 
Hips: to 20" flat across from side seam to side seam
Bodice: 18" from top of bodice to waist - it drapes over a bit and will come up a touch when on
Pants: 40" from waist to hem
Inseam: 28"
Rise: 13"

Modern Sizing Equivalent: SML-MED

Item# DD3711

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 set is not by any big designer name. It is simply one of those great pieces that you will only ever find in vintage. It is not 100% perfect but its flaws are not terrible and it is one of the sharpest looking sets I have seen. It looks fabulous worn as a set but with it being two pieces it still gives you the freedom to break them up and wear them individually with other pieces in your existing wardrobe. Both piece are made from a white textured brocade that has a silver thread design over its surface. The design is a series of linked circles and these run over the entire set top to bottom. The pants are flat fronted and have a sleek fitted leg that flares out slightly as they near the hem. The long sleeve tunic sits over the pants and it is cut to skim over the bust and waist. Once it is past the waist it flares out on a sharp angle that adds lots of drama to the feel of the set. The neckline is notched into a slit and then running down the front is an open cut out. This is backed in a nude netting so that you are not completely bare but from a distance it looks bare. Over that is an extensive design done in faux pearls, beading and rhinestones. I love how it gives the notion that you are totally bare underneath. I think that if you wanted to you could even have the nude backing removed and actually be bare down the front. Running up from the hem of the tunic is another notched and open slit that ends just ender that amazing beaded detailing. I love it and it is even better on. Presents as excellent condition but there are condition notes to review below

Both pieces are unlined. The tunic closes with a back painted metal zipper and the pants close with a front set zipper. Hand finishes. The bead work is hand done. I think at some point both pieces were lined and the set has a bit softer feel to it now then if it was still lined. The inner seams are finished but have loose threads showing along the edges and the binding edging is not tacked down. There is a very faint mark along one side and near the hem on the other. Very slight grubbiness here and there to the areas you would touch the most often. The zipper of the pants has come off its track - to closes but can have open spots. Please see the last two photos. Sold as is and priced accordingly 

Tunic
Sleeves: 21"
Shoulders: 15"
Bust: 18.5" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: 22" flat across from side seam to side seam with open sides
Length: 31" from neck to hem

Pants
Waist: 17" flat across from side seam to side seam
Hips: 21" flat across from side seam to side seam
Length: 40" from waist to hem
Inseam: 31"
Rise: 14.5"

Modern Sizing Equivalent: SML-MED

Item# D631

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 stunning suit is a proper, numbered Haute Couture piece designed by Pierre Balmain. It would have been made by hand in the Paris atelier for the Spring 1960 collection. When researching this piece we found similar suits from that collection and I have included the reference photos here. It is cut with the volume and curves that defined the era. It is a wonderful example of the work Balmain 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 suit are very simple. There is the very minimal amount of seaming done to achieve the shape that you see. The suit is made from a deep blue fabric that in person has a slightly brighter feel then how it photoed and is even prettier. The fabric itself is incredible. It is a mix of a fine wool and silk and this combination gives it enough weight to hold the line and cut but without it feeling bulky or too heavy for a modern wear. It has a cross thatch texture running through it that gives the suit a little extra depth. The suit has a beautiful sculptural feel with an exaggerated and dramatic swing to the back of the jacket. When you see it from the front it falls in a more box cut shape with just the suggestion of shape through the waist. From the sides and back it shows this beautiful volume that is created through a modified swing cut that is gorgeous. The back swings out from the shoulders in a sweep of fabric. At the same time, when I say volume it is not overwhelming or forced. It has a refined feel to it that is charming to see. The seam that runs up the centre splits open about midway down and is kept in place with two large buttons. I love that this seam remains open from under the buttons to created a vent. This would have felt very risqué for this time period. Then to go with this lovely little jacket is a neat and simple cut skirt that perfectly balances out the jacket. Both pieces are beautifully made to couture standards. Excellent condition with a small note below

Both pieces are fully lined in a navy silk. The lining in the skirt is a soft, heavy weight silk satin and the lining in the jacket a more structured silk taffeta. The jacket closes with buttons down the front and has two decorative buttons at the back. The skirt closes with a fine, back metal zipper and flat hook & eye on the waist band. Completely hand finished. Has the proper numbered couture tape behind the main label. The buttons show chips along their edges.  Please see the last photos for examples. This would be easy to touch up with a matching paint. 

Jacket
Sleeves: 17.5"
Shoulders: 16.5" across
Bust: to 21" flat across the back from seam to seam
Waist: to 20" flat across the back from seam to seam
Length: 22" from neck to hem

Skirt
Waist: 15.5" flat across the back from seam to seam
Hips: 21" flat across the back from seam to seam
Length: 24" from waist to hem

Modern Sizing equivalent: MED-LRG

Item# DD1089

Reference Photos: (1) Pierre Balmain in L'Officiel, 1960.  /  (2) Pierre Balmain in Vogue, March 1960.

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 remarkable example of Courreges and the work that Andre was doing during that time period. I know we often associate his work with very mod and short pieces but he also did many dramatic pieces in fabrics like this. It is a highly glossed, thicker weight, smooth finish cotton. At the time this would have been extremely experimental. I love that this one takes the shape that we so closely associate with him and extends and exaggerates it to full length. This dress would not have half the impact it has if it was shorter. I am sometimes more excited to find these bolder and more unusual pieces from him then the more common mod feeling ones. A version of this one was also photoed for Vogue that spring making it even more special.

This beautiful dress is made out of a coated cotton that has been dyed to a brilliant orange. This was a signature colour for Courreges and it is just absolutely stunning. Many of his pieces are a play on volume and proportion and this dress is an amazing example of that. It is a dramatic piece that has a more bare and fitted feel through the upper bodice and then flares and widens out very dramatically to the hem. The fabric is light in weight but has enough weight to it to hold the shape. The exterior has a coating that gives it a slight sheen and then inside it is self backed with a white finish. It has enough structure to it that it holds the intended shape and volume while feeling like you are barely wearing anything. The slight sheen and texture of it combined with the absolutely superb seaming details give the dress a rich, luxurious feel. All of the seams are set vertically to help add to the feeling of length and the bust is cleverly shaped by a horizontal seam running under it. It then has two darts worked in for shape. The neckline is scooped high on the chest and the sides curve for the arms. Straps extend out from the side and the top of the halter neck and then each strap buttons into place along the sides of the back. All of the buttons are functional and original. The two top ones cross over each other and the one below crossed the back in a horizontal line. Extremely collectible and rare. It looks to have never been worn or worn very little. Excellent condition.

Unlined with a self backing in white as described above. It zips to close at the back and each end of the straps button into place. Tagged a Courreges 0. In its original length and appears to have been worn very little if at all. 

Bust: will fit to 17" flat across the back from seam to seam with approx an A-B cup
Seam under the bust with straps taken into account: will fit to 15.5" flat across from seam to seam 
Waist where the back strap is: to 14" flat across from seam to seam
Hips: open 
Bodice: approx 13" from shoulder to seam under the bust
Skirt: 45.5" from seam under the bust to hem

Modern Sizing Equivalent: XS-SML (it should fit a MED if you are narrow and small through the bust)

Item# DD3710

Reference Photo: US Vogue, March 1970.

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

This gorgeous dress would have been designed by 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 time at the Lanvin label is one of my personal favourites for the house. I especially love his work during the period through the late sixties and into the early 1970s. He was a genius at print and colour and he pushed the envelope in his work with colour and cuts. This dress is from the early part of the 1970s and it is incredible. The Lanvin label is numbered and it is one of the best prints I have seen. 

This Lanvin dress is absolutely beautiful. It looks like it could have been pulled from a collection this very season it is in such remarkable condition. I am in absolute love with it. The colour, the design, the workmanship; everything about it is perfection. The fabric that has been used to create it is a very fine and light silk crepe chiffon on par in quality to the silk crepe that you would see used to make very high end scarves. It has been hand screened with a gorgeous and vibrant print that was applied and pre-planned for before piecing the fabric together. Anywhere that a seam is necessary, the pattern has been lined up so the seams are barely seen at first glance. The beauty and brilliance of the colour is equaled by the fine workmanship that has gone into constructing it. The bodice is cut across the bust and is fitted. Little ties extend out from it to tie at the top of each shoulder for a sweet touch. The neckline is cut straight across for a bandeau effect. The pattern is more intricate across the front of the bodice and I love that this is picked up with a band of the same design at the lower hem. The skirt is constructed from two layers of the same fabric and has quite a bit of fabric in it. This gives it beautiful movement around you when you move. I also love that they used the same printed crepe chiffon to line the skirt. It is like a little secret that only you know and shows the quality of the piece. They could have easily just used a solid colour that would be cost less to do. Having the two printed layers lets the two patterns float over each other and subtly creates a stunning depth to the print. The choice of fabric has allowed it to retained the crispness of the colour even after all of these years making it feel new. At the same time it is feather light so once on the body it is easy to wear and it moves beautifully with you. It is even better in person then how it photoed and like the best of all high quality vintage and couture pieces, it will only really come to life once on an actual body. It appears to have never been worn or worn very little. Excellent condition

Fully lined in a second layer of the same fabric and close with a back zipper. Each shoulder ties with the attached ties. Hand finished throughout. It appears to have never been worn or worn very little. Numbered tag. 

Bust: to 17" flat across from side seam to side seam
Seam under the bust: to 15" flat across from side seam to side seam
Hips: open
Bodice: approx 13" from top of shoulder to seam under the bust and can be adjusted slightly with the ties
Skirt: 44" from seam under the bust  to hem

Modern Sizing Equivalent: SML-MED

Item# DD3709

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 Vogue review of the Spring 2003 show was extremely complimentary. This was at the height of Ford's vision for Gucci and he could do no wrong. The review said 'The Gucci girl’s got legs—long, tan, flawless ones striding along on silver peep-toe sling-back pumps. Follow them all the way up, and around two weeks later, they eventually meet the hem of the minutest piece of clothing that was ever called a skirt or dress. For spring, in a word, Tom Ford says short. Using lustrous fabrics in subtle makeup colors from blush to tawny brown, pearly gray and silver, Ford draped and wrapped his gorgeous girls in clothes that navigated that dangerous Gucci line between innovation and vulgarity. The tousled hair, the jackets and tops poised to fall off shoulders—the whole presentation stirred sensations that fashion hasn’t felt since the last days of the great supermodels. Still, don’t think tacky. Ford’s obsession now is integrating fine workmanship into abbreviated silhouettes. He took the idea of a kimono and portrayed it first as a simple silk beach cover-up, then as an elegant formfitting dress, painstakingly made from hand-painted strips of silk. He brought couture finesse to racer-back feathered dresses with the merest flip of a skirt. And with lightest touch, he wove white and rose gold into fragile ribbons to tie around wrists—the most modern-looking jewelry in Milan. When Carmen Kass closed the show in a dress made entirely of the same precious ribbon, it was a confident statement in the power of glamour. And fashion needs that.' To this day this is one of the most recognizable and desirable shows to find pieces from. 

One of the things that makes this dress exceptional is that it is true to the runway and is entirely original. I have seen this dress come to market before and most are the more conservative versions that don't drop as low at the back as the show version did. (There is a photo of Sarah Jessica Parker in that version that I have not included here but it is out there to google). Many of the ones that you see were also altered and if you looks closely they don't have the same original stitching at the hem and at the ends of the sleeves like this one does. It also still has its original elastic across that back which was meant to keep it in place on a hangar and in the body. Most women removed this before wearing so is very rare to see one still with this in place. You can see it in the runway shots too. The dress is meant to be worn short and the jersey stretches so accommodate the hips so that it stays in place. The rest of the dress just blouses over loose and easy. I have shown it on the dress form the way it is meant to be worn and like you see on Frankie in the runway shots and also extended it to its full length so that you can see the full pattern on the dress. The top is loose and easy and is meant to be worn low down the back. It almost creates a ruffled effect. The front sits as low as you wish it to and you can also wear the dress slouched off of one or both shoulders. The sleeves have wide openings on either side and again the more conservative version was more covered with a more narrow opening. This is an incredible piece of the Tom Ford history with the brand and is one of the most recognizable pieces from his tenure with the label. It's an incredible piece of fashion history given that it is true to the runway version. It appears to have been worn very little if at all. Excellent condition. 

Unlined and slips on the wear. Tagged a size Large but the jersey has stretch and should accommodate a variety of sizes. It is very hard to measure with the stretch factor so I have given the comfortable range laying flat. 

Bust: approx 19-23" flat across from side seam to side seam
Waist: approx 17-21" flat across from side seam to side seam
Hips: approx 16-20" flat across from side seam to side seam
Length: approx 37" from top of shoulder to hem but can be pulled up as short as you want

Modern Sizing Equivalent: SML-LRG

Item# DD3707

Reference Photos: Spring 2003 Gucci Runway Collection, Look 3. Model: Frankie Rayder.

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

Sant' Angelo was the winner of two Coty Awards and two Council of Fashion Designers of America honors and was known for his innovation and pioneering use of stretch fabrics. He has had an entire museum exhibit dedicated to his work and career and is firmly entrenched as one of the great designers. His work captured a moment in fashion history and his love of color and strong lines will forever be collectible. Pieces reside in museums worldwide including The Met where there is a black sleeved jumpsuit in their collection. This one is actually better and has more impact even!

This is an amazing and rare jumpsuit that is made out of a black stretch jersey. The fabric choice makes it extremely comfortable to wear and it drapes and falls incredibly on the body. When you put it on it stretches and conforms to your body in the most comfortable of ways. It is all one easy piece and you just slip it on to wear. I love how the back straps are knotted at their ends and have been slipped through loops at the side. This is all that holds the halter in place and yet it is perfectly stable and stays on. The front has two panels of fabric that come out from the waist and this creates a deep and wide plunge. The fabric curves up and around then neck and then crosses over itself to run through the loops at the side. The entire back and sides are left bare. Once past the bareness of the top, the jumpsuit skims over the waist and hips to long pant legs. The pants are extraordinary. As they reach the bottom hem they widen out and then are cinched back in with a tie that runs through the seam at the bottom. This lets you cinch them in to create a balloon / harem effect that is just fantastic. It is extraordinarily well done and very sexy yet so easy and comfortable to wear. Just a once in a life time find. Excellent condition. 

The bodice is lined in a second layer of the same fabric and the pants are unlined. It slips on to wear. The back straps are knotted through side loops. Ties through the bottom hem of each pant. The fabric has some stretch and the measurements are the comfortable range laying flat. 

Bust: approx 15.5-17.5" flat across from side seam to side seam 
Waist: 11-15" flat across from side seam to side seam
Hips: 17-22" flat across from side seam to side seam
Length: approx 58" from neck to bottom of pants
Inseam: 30.5"

Modern Sizing Equivalent: XS-MED

Item# DD3703

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

Alexander McQueen shows always verge on avant grade installation and performance art and this one was no exception. Lee himself once said 'I don't want to do a cocktail party, I'd rather people left my shows and vomited. I prefer extreme reactions.' Vogue called this collection poetic despite that fact that it has been inspired by the 'The Shining'.  The Fall collection was entitled 'The Overlook', the name of the hotel in the film, and it was held inside a giant lucite box. The show invitation was a single sheet of A4 paper with the words 'All work and no play make Jack a dull boy' repeated over the paper. The show was set in a giant plexiglass cube complete with a birch forest, ice skaters and snow. The models walked through the forest in the falling snow as they made their journey around the box for the audience outside and the final looks were shown complete with a blizzard that was reminiscent of the final scene in the film. In the book 'Alexander McQueen', edited by Claire Wilcox, the summary of this show was that 'The collection marked a high point, not just as fashion as spectacle but also for the visual interpretation of narrative film in another medium'. Further in the notes outlining the show the coats were mentioned specifically 'As usual McQueen intrigued with his tailoring, this time manifested in a frock coat with a fantail silhouette, which attested to his interest in asymmetry and birds'. It is of particular note that the coat and its silhouette was so central to most of the coats shown. We have included shots of Looks 19, 29 and 46 but if you watch the full runway show you can see that variations of it were used throughout the presentation. 

This is a deep red version that is otherwise identical to the coats that walked the show. Very few of these would have been produced and it is amazing to have such an early piece of his work in the shop. A piece like this truly showcases McQueens strong tailoring background and master cutting abilities. I love that it is identical to the show pieces in all but the colour. Which is better then the ones shown on the runway in my own opinion. I love the strength of the deep red. The upper portion of the coat is cut with a nod to a traditional men's suit and then he has twisted and shaped the front edges into that asymmetrical shape that you see. I love that it still feels very refined despite its avant grade shape and cut. The shoulders are shaped and lightly padded with a slight soft slope to them. Each sleeve is cut on a slight curve in the proper manner of tailoring a sleeve and each has a row of three buttons to finish them at their ends. The body of the coat is shaped with a female body in mind and is cut in at the waist for shape. It closes with a single button and I am obsessed with that single flap pocket that has been elongated and runs down the hip on an angle that follows the shape on that side of the jacket. The lapels curve around the neckline and run down to the button. They are notched cut and finished in the same fabric as the body of the coat so that your eye is drawn to the angles and shapes below rather then be distracted by a collar in a different tone or fabric. The coat slides over the hip and then flares out dramatically into that fantail cut mentioned in the show notes. I laid the jacket out flat for you to see just how amazing it is cut. When laid out flat you can see how the hem is cut on a long curve that slopes up to one side, swooping up into a boxed cut end. The other end extends out from the waist in a long line to meet the curve. When it is on this falls more behind you and around you at the sides and it has tremendous movement when you walk and move. The inside is lined in a red silk satin that matches the exterior. The workmanship is meticulous and it is an absolutely beautiful and rare piece of his early work. Excellent condition. 

Fully lined in an red coloured silk satin. It closes with a single button at the front. Buttons on each cuff. There are two extra buttons sewn onto the inner label. Tagged a size 44. The front pocket is still tacked shut. Padding on the shoulders. It looks to have been worn very little if at all. 

Sleeves: 25"
Shoulders: 16"
Bust: 18" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Hips: open
Length: 61" from neck to longest point of hem

Modern Sizing Equivalent: SML-MED

Item# DD3701

Reference Photos: F/W 1999 Alexander McQueen Runway Collection. Look 19 (Model: Sunniva Stordal Bjorklund), Look 29 & Look 46.

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 beautiful and happy feeling dress is one of my favorites from the pieces of Malcolm Starr that I have had in the shop. It was designed by Elinor Simmons, who was a young designer that Malcolm brought in to the company to design a higher end line for him in 1965. She eventually left in 1972 which giving us a window within to date the dress. Everything about this dress suggest the late 1960s or early 1970s.

The print on this dress is a wonderful mix of cherry red pinks mixed with mustards and a deep purple. The pretty Batik feeling print was then screened onto a crisp cotton. I love the mix of colours and the happy cheery feel that it gives the dress. You can also see how extremely well thought out and planned as evidenced by how closely the pattern matches at the seams. To accomplish this it would have had to have been all pre-planned out prior to cutting that fabric so that the print would exactly follow the cut and lines of the dress. This is a technique that is not as common to see anymore in modern ready-to-wear since it uses extra fabric and adds to the production cost. The dress is beautifully cut. The front bodice is cut to skim over the bust and the fabric crosses over itself to create a deep V. The sleeves are long and slim. I love how the print is laid out so that it creates a border around the neckline. This then runs down the centre of the skirt and curves around the bottom hem. The skirt flows out from the waist and it is quite full. The fabric choice helps it to keep its angled shape that you see as it widens out at the hem. The front of the skirt is slit up the centre to the top of the legs. It was most likely meant to be worn over a pant or shorts. If you preferred it closed it would be easy to add a series of hooks or just close the seam. It comes with its original matching fabric belt that has been densely covered in hand applied beads. These add a little touch of glitz and glamour to the dress and it cinches in the waist for added shape. It is gorgeous. Excellent condition with one note below.

Unlined and closes with a back metal zipper. The belt closes with hook and eye that could be adjusted or moved to get the perfect fit. There are a couple of beads missing near the hooks at the back of the belt. Please see the photo after the label shot.  

Sleeves: 22"
Shoulders: 14.5"
Bust: 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 14" from top of shoulder to waist
Skirt: 34" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3697

Reference Photos: Amanda Lee Shirreffs for her weekly column on our blog, Curated. (Photos by Erin Leydon) Click here to see the full column >

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 the twin of the one worn by Brooke Shields for the December 1983 cover of Cosmopolitan Magazine. We also found a photo of the dress that I believe is a backstage shot from the runway presentation. It is instantly recognizable as having been designed by Bob Mackie. Mackie was best known for dressing Cher and for his undying love of opulence and bead work, both of which he incorporates heavily into the best of his designs. Modern girls are obsessed with his vintage pieces. He worked for both Edith Head and Jean Louis prior to working as a costume designer and co-designing with Ray Aghayan. That led to his incredible journey in designing for stars like Cher and Diana Ross for many years. In some ways he and his creations defined their careers and that era of glamour. I think he secretly always designed for the big screen and the bygone glamor of Hollywood as his work is always over the top and extravagant.

This is an amazing dress from his main line. It is extremely sexy and flattering an I am so pleased to have photos of it so that you can see just how great it is on an actual body. The base of the dress is made of a black silk chiffon that has a touch of transparency to it. It is then backed in a layer of the same chiffon to keep it from being see through. Then onto that are thousands of tiny glass tube beads set in vertical rows that run up the full length of the dress. The rows combine a deep, almost black, red bead with bright vivid red beads to get the effect that you see. On the areas where Mackie wanted to emphasize your curves he concentrated the beads into a denser pattern. He then worked in large faceted red rhinestones to add some extra texture and to catch the light even more. This combination of the red glass tube beads and pop of large crystals let every inch of the dress to catch the light and sparkle. The dress has a good weight to it when it is off of the body because of that extensive bead-work and yet once on the body it drapes in a way that it is balanced and not at all uncomfortable to wear. The bodice is cut into a deeply dipped front V neckline. Tiny based straps curve back and around your neck. They hook together to create a racer back and your entire back is left bare and open. The waist is brought in to create shape but there is no horizontal seam to break the lines of the design. It is all done by that clever illusion of the dress wrapping around you. The skirt is incredible and is cut on a curve so the back is longer then the front and it has a high slit at one side at the front. The effect of this is far more dramatic and fabulous on a real body and it really shows off the legs. I love how the denser bead work follows that curving line that is created. It makes your waist look incredibly snatched in.  If you even remotely love it in the photos you will love it more when you see it in person. Extremely well made and made to demi-couture standards. These were sent to the stores with a full lining made of a second layer of black silk chiffon and you could remove this if you wanted a true nude, semi-see through dress that Mackie is so well known for. Excellent condition.

Fully lined in a black silk chiffon and it closes with a low set painted metal and nylon back zipper. A hook brings the two straps together at the back. Hand finished throughout. It is cut on the bias so should drape to fit a range of sizes

Bust: to 17.5" flat across from side seam to side seam with probably a B to small C cup
Waist: to 14.5" flat across from side seam to side seam of the built in corset
Hips: to 18" flat across from side seam to side seam
Length: 63" from top of the shoulder to back hem, 33" to the top of the slit at the front

Modern Sizing Equivalent: SML-MED

Item# DD3695

Reference Photos: (1) Brooke Shields in Bob Mackie, Cosmopolitan, December 1983.  /  (2) Daryl Hannah in Bob Mackie, Vanity Fair, April 1984. Photo by Helmut Newton.  /  (3) Mackie Gowns modeled - originally designed for from left to right, Sharon Stone, Cher, Brooke Shields and Diana Ross. (credit unknown).

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

Emilio Pucci is one of my favorite designers and every single dress is a work of art. His colors and prints are mixed with a masterful hand and when you get a good piece of Pucci, it is a piece that you can wear for a lifetime. This one is gorgeous. The dress is made out of one of his signature lightweight silk jerseys, a fabric that he preferred because of the way it moved and took colour. It is screened with one of his custom prints that he has laid out onto the fabric to highlight the cut and line of the dress. The sleeves are long and slim and the bodice is cut to skim over the bust with a V neckline. This flows past the hips to the floor in a fairly straight column of fabric.The colour is a bright salmon pink and over that is a floral and vine print in a white that is edged in black. The flowers and vines trail over the entire dress in the prettiest of ways. His signature band of a contrasting print comes into play to highlight the edges and cut of the dress. It defines the neckline, circles the cuff and runs around the hem. I love the wide band of print that wraps around the top of the hips to separate the bodice from the skirt without having to have an actual seam there. This gives it visual definition but still keeps the easy to wear cut. Another printed band runs up the upper back of the dress. You will note that there is also a band along one side of the skirt. This is an incredible detail as that entire side snaps open or closed. If left open it is open all the way to where the print circles the top of the hips so that when you walk it will show your full leg. If that's too much for you, you just snap it to close as far down as you like. The entire dress weighs ounces and it looks to have been worn very little if at all. Excellent condition.

Unlined and closes with a back hidden, painted metal zipper. The fabric is a silk jersey and does have some stretch. Note that the color is more intense in person - better then how it photoed. Hand finished

Sleeves: approx 23"
Shoulders: are slightly dropped and are approx 17"
Bust: 17-19" flat across from side seam to side seam
Waist: 15-17" flat across from side seam to side seam
Hips: 20-22" flat across from side seam to side seam
Length: 60" from neck to hem
Side Slit: can be fully closed or opened to be 33" from hem up

Modern Sizing Equivalent: SML-MED

Item# DD3111

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

This gorgeous dress is by Alfred Bosand who was one of the great American designers but whose work is not as well known as some of the other more prominent American designers. His clothes where made to demi and couture levels with lots of hand finishes and detailing to them. Bosand started his career after World War II by attending the Fashion Academy in New York City. He then worked with several designers before launching his own label. By the time he retired in 1986 he was one of New York's last privately owned couture designers with his own label. His work is of very high quality. I just recently sold the twin of this dress in a cream and it is lovely to have another one land in the shop so soon. 

Bosand dresses always have a sense of romance to them and this dress with its matching caplet is no exception. Both pieces are constructed from a lightweight silk net that has little dots woven through it. The top netted layer sits over an inner lining that is finished in a pale peach colour. This softens the brown a touch as the peach colour peaks through the netted layers and adds to the illusion that you are perhaps bare underneath. The entire top of the bodice is covered in iridescent sequins that have all been hand applied. They are set be spaced more densely together towards the empire seam and then scatter up to the neckline. The dress is suspended from tiny double straps that curve over each shoulder. The bodice is kept simple with a low scoop at both the back and the front and a high seam under the bust. From under the empire waist seam the skirt cascades to the floor and widens out as it nears the hem. There are yards and yards of fabric in the skirt and it is made up of three layers, the top net layer that floats over an inner silk chiffon layer and then under those two layers is the lining. The dress comes with its original matching caped scarf piece. This has a built in collar that hooks to close and then the collar has the same sequin detailing done to it. The caplet is cut to end just at the empire waist seam at the front and then hangs with long panels that trail over each arm and around the back all the way to the hem. It is incredible and when you move it catches the air and moves beautifully. Excellent condition. 

The skirt is fully lined in an peach silk crepe with an additional layer of a brown silk chiffon between the skirt layers. The bodice is lined in a nude silk. The capelet is unlined and made from a single layer of the netting. The dress closes with a back painted metal zipper and the cape closes with two hook & eye at the collar. Hand finished throughout and hand applied sequins on the dress and collar of the capelet.

Bust: 17.5" flat across from side seam to side seam
Empire waist at seam: to 14" flat across from side seam to side seam
Inner hips: to 20" flat across from side seam to side seam
Bodice: 12" from top of shoulder straps to seam under the bust
Skirt: 48" from seam under the bust to hem
Cape: neck is 14" around. It falls 10" at its shortest length at the front and 60"to the longest length

Modern Sizing Equivalent: SMl-MED

Item# DD3683

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

I have several interesting pieces that have come in from a client whose aunt had most of her clothes made. This dress was made by Ady Couture and the story behind this label is fascinating. Ady Couture was based out of Lausanne Switzerland. She would buy couture fabrics from the couture houses along with the patterns and with their permission would make copies of the piece presented in the Haute Couture collections. When she was younger, and lived in Amsterdam, Ady would attend the private viewing and purchase directly from the couture houses. My client believes that her arrangement with the ateliers was a way to work around customs and this was the work around that that Ady negotiated with the ateliers. In my hunt for more information on the label I have been able to verify that they made this permissible copies of the work of Yves Saint Laurent, Christian Dior, Givenchy and Ungaro. There may have been others but this are the four houses I am confident on. I feel that this particular dress has a more Yves Saint Laurent or Ungaro feel to it and I am still actively searching to find its counterpart. The dresses are completely made by hand to Haute Couture standards and are incredible to see.

The dress is made from a silk taffeta and this fabric choice allows it to hold those extravagant lines that you see. It is absolutely beautiful and a testament to the level of design that you only see in couture pieces. The colour of the silk is extraordinary. I have managed to almost capture it in these photos but in person it is even richer feeling then what you see here. At the front the neckline is set in a simple high scoop. The bodice is cut to skim over your curves and is simple in cut to let the other details shine. The sleeves are a work of art. Each is made on a curve to follow the shape of the arm. They are set into the shoulders with a beautiful series of soft pleats so that you get a beautiful sense of volume there. They then taper down to the cuffs where they zip to close around the wrist. The waist is seamed and the skirt is set around the waist in a series of soft gathers that sit out from the waist slightly. This gives the illusion that the waist is smaller then it is and is quite genius. The skirt is one of the best skirts I have seen both from a design point of view and by its level of construction. It is made into two sections. The top section comes out from the soft gathered pleats all around the waist and then it balloons out all around you in a full pouf. It is seamed underneath to catch the fabric back inwards and then the second part of the skirt falls to the floor. That second tier has many yards of silk in it so that it flares out as it reached the hem. Between the two sections is a wide velvet ribbon that wraps around the seam and then you tie it into a bow at the side. What is truly incredible is that all the volume and shape that you see is created purely through the way it is cut and the fabric choice. The skirt does not have extensive underskirts to shape it. The silk of the skirts are interlined in a silk organza to help give it more weight but it is really the genius of the cut that gives it the intended shape. The final perfect detail is the elaborate detailing that runs across the front and back of the bodice and over the sleeves. All of the work is by hand. The intricate floral design has been created by combining embroidery work with tiny black sequins and beads. It is some of the finest hand work I have seen and I love how they have deliberately laid the sequins out so that you get a more matte feel for parts of the design. Inside the dress is completely finished to couture standards with every seam is hand finished. I have taken some detail shots for you to see the fine workmanship inside. It is an incredible piece and absoluteyly beautifully made. It appears to have been worn very little if at all. Excellent condition 

The bodice is fully lined in a matching gold toned silk and the skirt is fully interlined with a slightly gold tinged silk organza. It closes with a back fine zipper and the skirt snaps into place with silk covered snaps over it. Hidden set zippers at each wrist. Hand finished throughout. It appears to have been worn very little if at all. Made to Haute Couture standards with a tremendous amount of detail put into its construction.

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

Modern Sizing Equivalent: SML-MED

Item# DD3685

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

I love when I find these earlier examples of Oscar de la Renta's work. He would heave been more personally involved in them and they really showcase the designer he was to become. The dress beautifully combines several textures that work together wonderfully. It really showcases the the genius of his work and attention to detail. It has a couple of quirks to it so please make sure to read the full condition report below but it is still beautifully wearable.

The dress has a beautiful elegance to it despite all of its glitz and is as striking a dress as it could be. This sense of refinement is a constant in Oscar's work and I particularly love the earlier examples of his work. You can see how many of the elements he used so early in his career carried forward throughout his entire body of work. The dress is made from a sheer black silk chiffon that is lined in a black silk organza. This gives the base a bit of a transparent feel to it while still being completely covered underneath. Onto the top layer is an extensive pattern done in looping bands of sequins that have been sewn onto the dress in stacked rows. Mixed in with the gold sequins are the occasional green and red sequins. These catch the light differently and give the dress even more of a metallic feel. Worked into the sequins are these huge metallic paillettes that are cut into giant swirls. These are placed randomly over the dress and are done in green, gold and blue. Crystals are then hand placed and sewn on top of those. Every inch of the dress is covered. Each sleeve is left unlined for a touch of transparency and each is ringed with a deep brown sable mink cuff. If you are opposed to wearing fur it would be a simple task to un-tack them from the sleeves and wear it without the cuffs or switch them for a faux or feather finish. The neckline is cut wide across and scooped. The bodice is cut to skim over the bust and then the waist is seamed in a wide and generous cut. Below that the skirt falls to the floor, widening out as it nears the hem and it is finished with another band of the same fur as the cuffs. All the work is done by hand and each sequin meticulously placed. It is a beautiful example of his work during this time period. It feels even more gold in person. Great condition with some notes below

Fully lined in a black silk through the bodice and a black silk organza through the skirt. The sleeves are left unlined. It closes at the back with a hand set, painted metal zipper. Hand finished throughout. There is the occasional sequin loss here and there and some of the crystals on the large palettes are missing. Some palettes have a bit of a grubby feel to them and show a slight patina. The sides of the dress have been tacked on the outside to bring them in at some point so there is a little bulk of fabric on the sides. I opened one a bit and it looks like a seam underneath was opened and then the dress tacked on the exterior. You could open it to get more room if needed but there may be some additional work to do by a seamstress on the very inside seam if you did. I chose to leave it as found. It looks like the sleeves were also opened at some point as the fur does not meet under the arm. That too could be taken back in if you wished. I took photos the the side, under the cuff and of one of the paillettes. Please see the shots after the label shot. 

Shoulders: 16"
Bust: to 19" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: 16" from top of bodice to waist
Skirt: 42" from waist to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3684

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

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

This is from my same client whose aunt purchased from Ady Couture who I explained in depth in this listing while she was living in Switzerland during the eighties and into the nineties. Prior to that, during the late sixties and into the early 80s her aunt lived in both France and Brussels where she purchased pieces from Louis Mies. Mies was a small independent couturier who did custom work for his clients to couture standards. I have not been able to confirm that he had permission from the houses to replicate their Haute Couture pieces for his clients like Ady did but this dress certainly takes its inspiration from the couture collections. After some research I think this is inspired  by the Fall 1982 Givenchy collection. In that collection he had many pieces that had similar silhouettes to this one. Given her overall wardrobe, her love of couture, Givenchy, and having things copied, it is not a stretch to make that leap. It is beyond beautiful in person and one of my favourite personal pieces from her estate so far. 

The level that this dress is made to is a beautiful thing to see. All of the finishes are by hand and it has all those lovely details that you expect in a couture level garment. It is made out of a black silk taffeta and this fabric choice helps it to hold its intended shape. On the main body of the dress the silk has been finished with hand embroidered roses. These are made with a chenille velvet thread that is worked through the silk to form large roses that cover the entire dress. Scattered over and around the roses are dots that are made with the same chenille. This gives the dress an incredible 3D texture and and depth. The flowers also add such a lovely and romantic feel to the dress. The bodice is more fitted and the neckline is scooped low across the front. It buttons to close down the front and then there is an elaborate set of snaps and hooks that follow the waist line and carry over to the side where there is a hidden set zipper. The top is cut to follow your curves and the waist is cinched in. The sleeves are a work of art. Each is made on a curve to follow the shape of the arm. They are set into the shoulders with a beautiful series of soft pleats so that you get a bit of volume there. They then taper down to the wrist. The skirt is equally well made. It curves out from the hips, falling to the floor, and then widens out as it nears the hem. Inside the skirt is a full built in black silk under-skirt. That inner skirt is finished with an edging of black silk ruffles and it set slight below the top skirt in length. So when you move a certain way or sit you get just a glimpse of the ruffles at the hem. This technique also helps to hold the shape of the skirt. I think my favourite detail is the rolled pleats that circle the waist. Each is made by hand and each perfectly matches its neighbour. The hours of work that it would have taken to implement these is mind boggling. The interior is made to couture standards with all the inner seams finished by hand. I have included some shots of the inner seams for you to see. It is extraordinary and the kind of quality and beauty that you will only find with vintage. It appears to have been worn very little if at all. Excellent condition

Fully lined through the bodice in a black silk crepe chiffon. There is a built in black silk taffeta inner skirt. It closes with button and loops down the front. At the waist there is an elaborate series of silk covered snaps and hooks that close along the waist line and then it zips at the side with a hidden set fine metal zipper. Inner waist stay that hooks to close. There is at least an inch and a bit of fabric on either side of each inner seams through the bodice to let it out if needed. The inside is all hand done and it is finished to couture standards. 

Sleeves: 24"
Shoulders: 15"
Bust: to 18" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of shoulder to waist
Skirt: 42" from waist to hem with 3" turned under the hem 

Modern Sizing Equivalent: SML-MED

Item# DD3682

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 Nina Ricci Haute Boutique demi-couture label from the 1980s and it has that amazing eighties aesthetic to it. On the inner tag it has a space for the model style and this dress was called the 'Garda'. The Nina Ricci brand was founded in 1932, at 20 Rue de Capucines in Paris and quickly became one of the top couture ateliers in the world. In 1964, Gérard Pipart succeeded Jules-François Crahay, Nina Ricci's former designer assistant, as head of the brand. Over the following three decades, Pipart's couture vision 'celebrated a flamboyant woman and his ready-to-wear found a loyal following among the most stylish women of the day.' This dress fits perfectly into that aesthetic and I think it is amazing. 

I love the bold cut of the dress combined with the richness of the black velvet. Using velvet allows the black to be as deep and dark as it possibly could be so that the body of the dress becomes a backdrop to those wonderful shoulders. I am actually seeing a lot of similar pieces on the runways this past season or so and they are all based on work like this. The body of the dress falls in a perfect column of velvet and is cut to skim over the body and your curves. The sleeves are long and each narrows to a zipper cuff. The bodice is finished in a high end black silk and is shaped and cut to hug and lift the breasts. It curves over the breasts and then gathers in the centre where it is caught up with a strip of silk. This creates a curved sweetheart neckline that is beautiful. At the top of each arm is an explosion of pleated silk taffeta that is done in multiple layers of fabric. These swirl and curve around each other. The effect this creates and the volume it gives is remarkable. This also leaves the shoulders bare for some skin to show. To off-set the volume at the top of the dress, the skirt is more fitted as it falls to the floor in a graceful column of velvet. A slit runs up the back so that you can walk. The dress is very well made and the black silk interior gives it a rich and sensual feel once on. Excellent condition

Fully lined in a black silk and closes with a back zipper. There is a built in bodice that closes with its own separate zipper. Inner waist stay that hooks to close. Each cuff has zippers to close. Hand finishes. It appears to have been worn very little if at all. 

Sleeves: 22"
Bust: to 17" flat across from side seam to side seam
Inner waist stay under the bust: 14.5" flat across from side seam to side seam
Natural waist: 16" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: Approx 57" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD3681

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

This is an incredible Haute Couture dress that came to me unlabeled. After some research and feedback from my client I think this may be a Givenchy or a Givenchy copy. I have a Givenchy in my own archives from his demi-couture boutique label from this same time period and the construction of the sleeves and the overall lines of the dress are remarkably similar other then the fact that this dress was entirely made by hand. Given the client's overall wardrobe and love of couture combined with the level of workmanship in the dress it is not a stretch. It could also be another of her Ady Couture piece as well. Ady Couture was based out of Lausanne Switzerland. She would buy couture fabrics from the couture houses along with the patterns and with permission make copies of the piece presented in the Haute Couture collections. When she was younger, and lived in Amsterdam, Ady would attend the private viewing and purchase directly from the couture houses. My client believes that her arrangement with the ateliers was a way to work around customs that prompted Ady to negotiate this arrangement with the ateliers. In my hunt for more information I have been able to verify that they made this permissible copies of the work of Yves Saint Laurent, Christian Dior, Givenchy and Ungaro. There may have been others but this are the four houses I am confident on. It is priced as an Ady piece and the context that it would have with that label. The dress is completely made by hand to Haute Couture standards and it is incredible.

The dress is made from a black silk taffeta and this fabric choice allows it to hold the almost sculptural lines that you see. It is absolutely beautiful and a testament to the level of design that you only see in couture pieces. At the front the neckline dips into a V and the dress is vertically seamed to follow and curve over the body. The sleeves are a work of art. Each is made on a curve to follow the shape of the arm They are set into the shoulders with a beautiful series of soft pleats so that you get a bit of volume there. They then taper down to the cuffs where they zip to close around the wrist. At the back the dress is cut into a second V that is lower then the one at the front so that you get a bare expanse of skin. The waist is set to curve in at the front for a suggestion of shape but at the back is is cut so that the low waist and the top of the skirt lifts off and away from the body for more of a sense of volume. The skirt at the front is cut on a bell and curves gracefully away from the hips. At the back it is fuller and cut to fall longer then the front. Underneath is an interior skirt that is edged in a ruffle of black silk netting so that when you move you see just a peek of that from under the top skirt. At the top of the inner underskirt are layers of silk that help to hold the shape at the hips. Otherwise all of the volume is created but the cut and the fabric alone. The perfect final detail is the series of dots that you see scattered over the sleeves and bodice of the dress. These run past the waist and circle the upper portion of the skirt. They are various sizes and some are made from circles of tiny silver sequins while others are a iridescent pale blue sequin. The blue ones catch the light and range from silver to an ice blue. It's incredible. There are also some that are made from the finest little crystal beads. Inside the dress is completely finished to couture standards with every seam hand finished. I have taken some detail shots for you to see the fine workmanship inside. It is an incredible piece and just beautifully made. It appears to have been worn very little if at all. Excellent condition 

The bodice is unlined and the skirt is fully lined with a built in underskirt in a black silk taffeta. Built in paniers around the hip area that I have photoed for you. It closes with a back fine zipper and the skirt snaps into place with silk covered snaps over it. Hidden set zippers at each wrist. Hand finished throughout. It appears to have been worn very little if at all. There may be the occasional sequin or crystal missing on the dots but no bare spots.  Made to Haute Couture standards with a tremendous amount of detail put into its construction.

Sleeves: 24"
Slightly inset shoulders: 14"
Bust: to 18" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: open
Length: 58" from top of shoulder to front hem, 60" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD3677

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

Early Louis Feraud pieces are highly collectible and in their day they were sought after. Women like Elizabeth Taylor and Brigitte Bardot were huge fans of the label. From the sixties through to the early eighties the Feraud label was known world wide for pieces that incorporated gorgeous graphics and cutting edge designs. This dress is unlabeled but came from the estate of a woman whose closets were filled with these labels. It has all the hallmarks of being by Feraud but has no label. Regardless of its origins it its extremely well made and a very dramatic and bold dress that will definitely turn heads. 

The dress is an amazing testament to the demi-couture level construction techniques that have been used in its construction. The bust is fitted to the body and is covered in a black lace. The top edge is scalloped which gives it a pretty finish. The entire bodice is then detailed with clusters of large and glossy black sequins that form beautiful oversized floral shapes. Little straps curve over each shoulder and I think you could easily tuck those in and wear this as a strapless dress if you preferred since it is fully supported and structured inside. On the interior there is a built in intricately boned corset that runs all the way around the interior for support. On the exterior the waist is detailed with two black bows that are made from wide silk satin ribbons. The waist is nipped in and gives you shape despite the tremendous volume of the skirts below. The skirt is a masterpieces. It is constructed from a black and white silk that has that huge dot printed over it. The top layer o the skirt is meticulously shaped and set on a stunning curve. Great swoops of fabric are draped to runs down the top of each hip at the sides. At the front the panels of silk swoop and curve upward to meet in the centre of the skirt. This allows a bit of leg to show when you walk, move or sit. It falls longer at the back and pleats are set all around the waist to help give it volume. Underneath the outer skirt is an attached and built in inner skirt made from a stiffened netting. This inner skirt is cut sleeker through the hips and then flares out into a crinoline to help hold the volume and shape of the outer skirt. It is absolutely gorgeous. Excellent condition with a note below 

The interior of the bodice is made up of the boning and a lingerie weight lining. The dress closes with a back zipper and the skirt snaps into place over it. The skirt is lined in a white silk organza and then there is a built in crinoline as shown and described above. There are some faint water marks along the back hem and some grubbiness to the inner back hem and edges where it hits the ground. Lots of hand finishes and made to demi-couture level. 

Bust: to 17" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips at inner crinoline: to 20"
Bodice: 15.5" from top of shoulder to waist
Skirt: 47" from waist to longest point of hem

Modern Sizing Equivalent: SML-MED

Item# DD3676

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

Bill Blass worked for the Maurice Retner label for 10 years as the chief designer. In 1968 the Bill Blass Inc label became a subsidiary of the Retner label . Then in 1970 he fully bought out his partners at the Maurice Retner label and re-launched it under his own name as Bill Blass Ltd. 1970 was the same year that he won his third Coty American Fashion Critics' Award and with it, his lifetime membership in the Coty Hall of Fame. By 1980 the company was doing 20 million dollars in revenue. He was arguably one of the most famous of all the American designers. By the eighties his work was even more ornate and luxurious than what he had done in the past. Prices for dresses could be as high as $5000 (which would be about $15,000 today). He was once asked why his clothes were so expensive and he replied, 'I'm an avid believer that we have to have clothes made in this country. Therefore we pay more money. ... The cost of labor and fabrication is what makes the clothing expensive.'

I have had versions of this dress in the shop in the past and I love it every time one comes in. It is bold and dramatic and it still feels perfectly on point with so many designers focusing on the eighties right now. Few designers would be able to make this mix of fabrics work. The neck is high and the sleeves are long. There is an inner silk chiffon bodice and then over that is an attached netted lace top. This is then covered in glossy black sequins. The winning through the lace and sequins are little rosettes that are made from a white ribbon that has been woven through the netting and stitched into place in little twirls. Blass used dots in his work quite often and the ribbon work that has been done is a bit of a play on his signature dot pattern. The shoulders are padded and strong and the edge of the bodice is shaped into a curving scalloped pattern. I love how it sits away from the body because it emphasizes the waist more. Quite a clever trick. The waist is accented by a wide black silk satin ribbon that is attached to the inner dress. Under that the skirt falls with a nice bit of fullness to it. Inside it has an inner organza lining that helps to hold the shape but most of the volume comes form the pleating at the waist and the horizontal banding that helps to give the skirt structure. It curves out full over the hips and has a bit of a bell shape. Alternating stripes of black and white silk organza run all the way to the hem and each black stripe has a little band of lace edging it on both the top and bottom of the stripe. Excellent condition with a small note to review below.

The outer bodice is lined in a black silk and that sits over a black silk chiffon inner bodice. The skirt is lined with a white white silk organza. The dress closes at the back with a hand set zipper and the top buttons to close over that. Padded shoulders. I see the the slightest of darkening to some of the ribbon on the top. Too faint to capture in a photo but mentioned for accuracy. There is a minor mark on the skirt and a tiny area of fading near the hem. Please see the photos after the shot of the label

Sleeves: 22"
Shoulders: 15.5"
Bust: 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 16" from top of shoulder to bottom seam of band at the waist
Skirt: 36" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3387

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 two piece set by Oscar de la Renta. This is classic Oscar with its pink colour combination and feminine feel. The pieces are made to go perfectly together but you can also have them play double duty by wearing them separately. The dress is a classic day dress with a structured fit. The silk he chose is very high quality and it is covered in an exaggerated plaid done in several shades of pink. The choice of silk keeps it light and easy to wear but the construction techniques used for it give it the structure and shape that you see. The top is loose fitting and the sleeves balloon out above their buttoned cuffs. It does up down one side with a series of silk covered buttons. The skirt is gorgeous. It skims over the hips and falls with a slight flare as it nears the hem. On one side at the front he has added a series of flat pleats. These flare and move as you move and create a little extra detail that I love. You can see the care put into it with each line of the pattern in the silk brilliantly lining up with the ones beside it where the pleats close. It comes with its original silk covered wide belt that you use at the waist to cinch the dress in. Over this goes the matching pink coat that has been lined in the same pink silk as the dress. So if you wear the coat open you see the same fabric. I love that. The exterior is done in a light woven boucle feeling fabric done in several tones of pink. It has a boxier straight cut through the body with one pocket at one side. It closes with a series of large hand carved wooden buttons. It is marvellous together and classic Oscar. Excellent condition with one small note below. 

The dress is lined in an ivory silk through the body with the sleeves unlined. It closes down the front with buttons as seen. Snaps close it under the waist line and there are snaps to close each cuff. An inner waist stay hooks to close and there is padding in each shoulder. The coat is lined in a matching silk to the dress and buttons at the front with hand carved wood buttons. There is small padding in each shoulder and the pocket on the front is functional. The set comes with its original slip buckle belt. The belt has some grubbiness and there is one tiny spot on the front side of the dress. Please see the photo after the label shot. Tagged a vintage OLDR 12

Dress
Sleeves: 27" but do come up once on
Wide set shoulders: 17"
Bust: to 20" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: dropped - 17" from neck to waist
Skirt: 23" from waist to hem

Coat
Sleeves: 24.5"
Shoulders: 16.5
Bust: to 20.5" flat across from side seam to side seam
Waist: 20" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Length: 40" from neck to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3660

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