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

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

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

Modern Sizing Equivalent: SML-LRG

Item# C538

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

This coat would have been designed while Youssef Rizkallah headed the company. Youseef joined the Malcolm Starr label in 1969 and remained as the head designer until 1975. The years that Youssef headed the line are among some of my favorites and in particular his pieces that utilize quilting and patchwork are truly iconic. Rizkallah was born in Egypt and studied at the Ecole de dessin appliqué and the Ecole des arts decoratifs in Paris. His designs seem to combine that sense of couture lines that he gained in Paris with the color and vividness of his homeland.

This is a wonderful piece that can be worn as either a coat or a dress thanks to the zip front that completely opens. It has the added provenance of being the twin to the one featured in the ad campaign for 1970. The base of the coat is a black fabric that feels like a light wool that has a slight ribbed texture in it. The entire coat is detailed with a combination of a red braiding and red ric rac that follows the lines of the coat so emphasize the pattern and cut. Elaborate designs adorn run over the body of the piece and all around the hem. Pops of a white cotton are used to  create even more drama. A floral patchwork is set into all of this on big curving and angular cuts that anchor the design and give a pop of contrast to the the starkness of the red, black and white. The collar has a beautifully curved cut out to it and the skirting of the piece flares out dramatically and is quite wide. The sleeves are deliberately kept simple so that all you see is that spectacular design through the body of the dress/coat. It is dramatic, wonderful and rare. Excellent condition

Fully lined in a hand set red silk and closes down the front with an unpainted silver zipper. It appears to have been worn very little if at all. Tagged a vintage 8

Sleeves: 22"
Slightly dropped shoulders: 16.5"
Bust: 17" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Hips: open
Length: 44" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# C536

Reference Photo: "The Malcolm Starr All Starrs" Ad, 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 incredible ball gown skirt from Oscar de la Renta has never been worn. In fact, it still has its original tags on it and feels like it just stepped out of a time capsule. The condition is pristine. The skirt is made of a deep fuchsia silk brocade that is a touch deeper in tone than how it photoed. The color is even better in person and has a richer feel to it. It somehow seems to land somewhere between a purple and a deep pink though slightly more towards the purple tone. The skirt is incredibly versatile as an evening piece - you could potentially pair it with anything from a simple white tee to an extravagant couture piece. it is cut supermodel length and has a built in silk taffeta underskirt that gives it that amazing fullness that you see. The waist nips in and the skirts flounce around the wearer in the most dramatic way. The construction is immaculate and while the skirt does have some weight to it due to all of that fabric once on, it feels shockingly easy to wear. Unworn and has all original tags attached. Excellent condition

Fully lined with a layer of silk taffeta, dyed a shade deeper then the exterior, that helps it to retain its fullness. Stiffening through the hem to also help keep the shape. It closes at the waist with a flat hook & eye and snaps under that. Pockets on each hip. Has all its original tags that give us its original price of $3100 which would roughly be $8500 (or more) in modern day dollars. Tagged a vintage OLDR 10

Waist: 14" flat across from side seam to side seam
Hips: open
Skirt: 46" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# S900

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

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

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

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

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

Modern Sizing Equivalent: MED-LRG

Item# S899

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

This stunning and rare gown was designed by Bob Mackie. Mackie shot for fame with the work he did dressing Cher. The best of his work is dramatic and opulent and he was a master at print and color. He worked for both Edith Head and Jean Louis, where he drew Marilyn Monroe's famous 'Happy Birthday, Mr. President' dress, prior to working as a costume designer and co-designing with Ray Aghayan. That led to his incredible journey in designing for stars like Cher and Diana Ross for many years. In many ways it was his work and his creations that really defined their careers and helped to shape that entire idea of high glamour.

This is an extremely gorgeous Bob Mackie dress done in a vivid floral silk chiffon. The bodice is fully formed and molded inside and the silk is then draped and shaped over that inner support. It is set so that is created a large cross over at the front which highlights the shape of the bust and emphasizes the high peak of the front bust line. The skirt flows out from under there with panels of silk chiffon that float around you and cascade to the floor. There are literally yards and yards of fabric through that skirt and when you move it is just incredible. It is cut to cure up at the front and under the top print layer are two more layers of a solid coral silk chiffon. All the silk is cut on the bias so it has incredible movement. The dress comes with its original matching cape piece. This buttons at the neck and is cut to mimic the curve of the skirt. The color is a bright tropical feeling print and it is truly one of the best dresses of his that I have seen. Very high end and very dramatic. Excellent condition with one small note below

The bodice of the dress is fully lined in a red silk. The skirt has two inner layers of coral silk that follow the line of the outer layer. The bodice is shaped and and fully boned inside and has an inner waist stay that hooks to close. It then closes with a back painted metal zipper. Hand finished throughout and hand rolled edges. There are some small repairs to the edge of the hem of the cape

Bust: to 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 12" from top of the high peaked bodice to bottom of inner waist
Skirt: 45" from waist to longest part of hem
Cape: approx 60"

Modern Sizing Equivalent: SML-MED

Item# DD3384

Reference Photos: Cherie, Owner of Shrimpton Couture.

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

Emilio Pucci is one of my favorite designers and every single dress is a work of art in its own right. 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 quintessentially Pucci and is done in one of his beautiful blue color palettes. The dress is made out of his signature lightweight silk jersey, a fabric that he preferred because of the way it moved and took color. It is screened with one of his custom prints that depicts a lattice pattern that runs over the entire dress and then has leaves and vines twining around and through that lattice. The pattern runs over the long sleeves and over the bodice that skims over the bust with a scooped neckline. The neckline and cuffs are defined with a border piece of the same pattern that only has the leaves and vines. There is a detailing seam that runs just under the bust and then the waist and skirt flows from there to the floor. I love the wide band of print that runs up the back of the dress and circles the hem as well. The skirt itself is surprisingly full through the lower portion. When you are standing it falls in perfectly little rounded drapes but when you move you really get a sense of the fullness. The entire dress weighs ounces and is just wonderful to see. 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. Tagged a vintage Pucci 8

Sleeves: approx 23"
Shoulders: approx 15"
Bust: 14-17.5" flat across from side seam to side seam
Waist: 12-14.5" flat across from side seam to side seam
Hips: 18-20" flat across from side seam to side seam
Length: 58" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# DD3382

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 held this in my archives for several years now and I think that it is a stunning example of the fur pieces being produced by designers like Pierre Cardin during this time period. This was the beginning of the movement of treating fur more like a fabric and making coats that had far more style to them then the previous norm. I am no expert on furs but believe this it is Fitch. The color is a rich deep brown that has an undertone ranging from a soft taupe to a creamy ivory. The fur is supple, shiny and very soft. The fur is set in horizontal rows with bands of a black suede in between. It is cut in a classic sixties cut that flares out as it reaches the bottom hem. The sleeves are incredible and each widens out to a flare finish at the cuff. It does up with hooks at the front and the collar is deep and rounded. Pockets sit along the edge of one of the rows at each hip. It has been properly stored and cared for and appears to have been worn very little if at all. No splitting, issues or shedding. Excellent condition with a minor note below to review.

Fully lined in a deep brown silky rayon and closes with the fur hooks down the front. Pockets on each hip. I see no bald spots or shedding, the pelts are supple and soft. There is slight wear at some of the common points - near the hooks and the edges of the sleeves, but it is very minor. The fur has no odd odor, is still supple and is stable with no signs of any shedding that would indicate that it is breaking down.

Sleeves: 26"
Shoulders: 15.5"
Bust: to 17.5" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: open
Length: 42" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# C534

Reference Photos: (1) Model in Pierre Cardin, 1966.  /  (2) Hiroko Matsumoto photographed in a white fur coat by Pierre Cardin, 1966.

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.

I have held this in my archives for several years now and I think that it is a stunning example of the fur pieces being produced at this point in Christian Dior's history. I am no expert on furs but believe this it is some type of a sheepskin that has been brushed out. Perhaps a Shetland sheep or something of that ilk. You can see in areas where the undercoat is very curly. The color is a combination of creamy ivory mixed with a pale taupe that has an almost pink cast to it in some areas. It is a little bit paler in the photos then how it is in real life. The fur is very soft soft and very fluffy. It is done in rows of fur that are interspersed with rows of a golden colored grosgrain ribbon. The collar is big and oversized. It is cut in a classic coat style with a flared bottom. Fur hooks run down the front and pockets sit along the horizontal row on each hip. The sleeves are cut straight and full and the collar is a classic notched wide collar.  It has been properly stored and cared for and appears to have been worn very little if at all. No splitting, issues or shedding. Excellent condition with a minor note below to review.

Fully lined in a deep taupe silk that is embroidered with the Christian Dior name throughout. It closes with the fur hooks down the front. Pockets on each hip. I see no bald spots or shedding, the pelts are supple and soft. There is slight wear at some of the common points - edges of the sleeves. the inner edge, but it is very minor. For a vintage fur from such an important designer, I still rate this as near excellent. The fur has no odd odor, is still supple and is stable with no signs of excessive shedding that would indicate that it is breaking down. 

Sleeves: 24"
Shoulders: 15.5"
Bust: to 20" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: 21" flat across from side seam to side seam
Length: 44" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# C533

Reference Photos: (1) Models in Christian Dior fur coats, L'officiel Magazine, 1971.  /  (2) Christian Dior Coat from The MET Collection.

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

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 one of my favorite John Kloss pieces I have ever had on the shop. I have actually worn this one a few times over the years and have never not gotten a zillion compliments. The vast majority of John Kloss pieces that one finds are usually too thin or too sheer to wear as proper dress, but every once in a while you find a fabulous little exceptions like this one. John Kloss was a contemporary of Ossie Clark and I love how you can see that same British sense of sexiness in his pieces. This dress has a simple but sexy cut that really shows off the body once on. The bodice has an almost scandalous plunging front that goes right to the waist and is cut wide across the chest. Little cap sleeves sit just on top of your shoulders and the edges are all hand rolled. At the point where the waist and the bodice join are two long panels of fabric that hang down the front. I just let them hang but you could wrap and tie them too. Either way they add a beautiful detail. At the back it is cut with a wide scooped back and then falls into a sleek sheath under that. Kloss was genius at choosing extremely high quality, light weight jerseys ad nylons that held the color well and would drape exactly as he wished. Excellent condition with one small note below.

Unlined and slips on to wear. Tagged a vintage Kloss for Circa medium but please check measurements. The fabric does have some stretch so it should fit a range of sizes. There is one small pull in the jersey under one arm towards the front. This one is completely wearable as a dress.

Bust: 15-19" flat across from side seam to side seam
Waist: 13-15" flat across from side seam to side seam
Hips: open
Length: 60" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# DD3375

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 perhaps one of the most recognizable dresses that Halston ever designed. Halston used this sequin technique predominantly between about 1973 to 1978. Instead of layering and overlapping the sequins, they were laid out flat, side by side, to cover every inch of the fabric. This dress is sometimes dated as being from 1983 because of the photo I have included here of Dina Merrill wearing hers but people forget that these were still the days where you re-wore pieces from tour own closet. Every source I have seen, including The Metropolitan museum and numerous high end auction houses have dated it to 1973. This is a stunning and rare version of one of his most famous dresses and it could not have more of an impact once it is on. It is beautiful

1973 was also the year that Halston won his fifth Coty Award and was one of his best years to date. This dress, with its gorgeous cloud print is both rare and iconic. I have the twin of this exact dress in my archives and it is one of my own most cherished pieces. I was extremely happy to have another come in that I could put into the shop for you. The base of the dress is made from a stretch jersey as the inner layer and the outer layer is the same fabric that has that wonderful cloud design printed on to it. That outer layer is what the sequins are attached to. The sequins have all been placed and attached by hand and completely cover the dress from shoulder to hem. The sequins are a clear with an iridescent finish reflect back the light beautifully. This makes the dress absolutely incredible to see in person. They also make the dress feel almost alive as it skims over the body and the the light reflecting off the sequins makes it really come to life. It skims over the bust and waist, hugs the hips and then flares out slightly as it nears the hem. That neckline is scooped and rounded. The openings for each arm are also cut on a curve and this creates the slightest bit of a capped shoulder and sleeve effect. It is amazingly comfortable to wear because the jersey and the stretch of the jersey also make it easy to fit. Excellent condition with a note below.

It closes with a hidden set, side zipper and the fabric has stretch. Fully lined in a white stretch jersey as described above. Hand set sequins. There are some sequins missing at the back about where your knees would bend and just above when you sit. There are sequins in the inner seams that could be used if this bothered you. It is so densely covered that its somewhat irrelevant. It is priced with this in mind. Please review the two photos after the label shot. The stretch of the fabric should allow it to fit a range of sizes and the measurements below are the comfortable range when lying flat.

Bust: 16-18" flat across from side seam to side seam
Waist: 13-15.5" flat across from side seam to side seam
Hips: 19-22" flat across from side seam to side seam
Length: 53" from shoulder to hem with approx 2" turned up under the hem

Modern Sizing Equivalent: XS-MED

Item# DD3374

Reference Photos: (1) Dina Merrill at NBC studios, Burbank, California, February 1983. From the book 'Halston' by Phaidon.  /  (2) 1973 Halston Dress from The Met Collection Online.  /  (3)Halston Dress from The Indianapolis Museum of Art.

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 Andre Laug label launched in 1968 in Rome. Laug was one of the grand Italian Couturiers who would now be considered to have designed "Alta Moda" the Italian equivalent of Haute Couture. He apprenticed under Nina Ricci and was the designer behind the first "Mademoiselle Ricci" collection in the summer of 1961. From there he freelanced, working for both Philip Venet and Andre Courreges. His clients included Audrey Hepburn, Jacqueline Kennedy, Diana Ross and countless others.This dress is numbered with one of his couture tags and dates from the late 1970s to the early 1980s.

Here we really see the attention to cut and details that his atelier was known for. Woman loved his clothes for their rich fabrics and attention to tailoring, but always with a refined and reserved beauty. This dress is a stunning example of that aesthetic while still taking into account the impact of using neon brights and sports related looks that was heavily influencing fashion during this time period. The entire dress is hand covered in a sequins. The sleeveless bodice uses clear sequins that allow the soft dove grey of the silk used for the bodice to show through. On the skirt the sequins are finished in an almost neon orange backed by a matching orange silk bodice. The waist is set low and dropped. This is then further detailed by a heavy embellishment of beads and more sequins, this time set on their sides so they have a more 3D feel to them. The neckline is scooped at the front with a wide silk border finished in a slightly different shade of grey. The waist has just a suggestion of shape and the skirt falls to the floor from there. The color in the skirt especially is exceptional - it is far brighter and crisper then how it photoed and really phenomenal in person. Excellent condition.

Fully lined with a hand set fine white silk chiffon. It closes with a back painted metal zipper.  Hand finished interior seams throughout to couture standards. Beautifully constructed. Couture numbered tag present.

Bust: 17" flat across from side seam to side seam
Natural waist: 15" flat across from side seam to side seam
Low drop Seam at the band: 17.5" flat across from side seam to side seam
Natural hips: to 25" flat across from side seam to side seam
Bodice: 20" from top of shoulder to top seam of low waist band that is 1.5" wide
Skirt: 42" from top of low set waist band to hem with 2.5" turned up

Modern Sizing Equivalent: SML-MED

Item# DD3373

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

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

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

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

Modern Sizing Equivalent: SML-LRG

Item# DD3371

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

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

This amazing dress from the 1930s is far from perfect but I am hoping that someone with a true love for dresses from this era will fall in love and take the time and effort to restore it. It is truly beautiful and deserves to have all its original beauty recaptured. Its flaws are not a deal breaker but it will take some time and effort to make it fully wearable again. Sold as found.

The dress is just amazing and the fabric is equally wonderful. It is a pale bush nude color that is pretty much transparent and the fabric is a silk organza that has an almost ribbon effect with the cross pattern that runs through it. The lines that you see give is some structure and form and the fabric is incredible when you feel and see it in real life. This pops over the slip that came with the dress. The skirt is tremendously full and you could easily add a fuller crinoline under it if you wanted a very full skirted effect. The top is that classic sweetheart design with a gathered bodice and pouf capped sleeves. It has its original velvet ribbon belt with a spray of flowers that hooks around the waist. Please review the condition notes below and the photos carefully before purchasing as it is sold as is and final sale.

The dress is unlined and meant to be worn over the rayon slip that comes with it. The slip closes with a metal side zipper. The dress slips over the head and closes with a series of snaps that follow the waist seam and the side seam. All the photos of the damaged areas are after the photo of the bouquet. The slip is sound but has some marks on the back skirt and under each arm as shown. The outer dress has some dustiness to it and some  light grubbiness under the arms. The damage on it is primarily along the seams so it could be repaired with care or even cut down a size and it would be perfect again. Almost every seam of the bodice would need reinforcement or repair. There are some storage marks on the skirt, the occasion small tear and some unraveling of the seam at the hem. It has not been cleaned and is in as found condition. Please review all of the provided photos. It would be magnificent if restored. In person the color presents as a touch deeper and more a dusty pink then how it photoed. The shots here do not come close to doing it justice.

Dress
Shoulders: 13"
Bust: to 18" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: open
Bodice: " from top of bodice to waist
Skirt: " from waist to hem

Slip
Bust: to 17" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: open
Length: 64" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# E674

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 designed the 2005 collection 'It's Only A Game' around the idea of a chess match between America and Japan. Each ensemble corresponded to a particular chess piece. Vogue said of it; "The presentation summed up all his experience in sharp tailoring, spectacular romantic dresses, couture richness, and downright showmanship." and that it had a "girlish Edwardian theme, starting with tiny sailor jackets, school blazers, ticking-striped shirts, and gray knee-length shorts, then adding lovely white lace blouses and dresses". The twin of this set was presented on the runway that day for Look 8. This show is often referred to as one of his most iconic presentations.

The set is incredible and an important piece of the Alexander McQueen history. It is instantly recognizable and from one of the most important collections. It is a work of art and the fabric alone is astounding. It is made from a fine, light silk that n person is perhaps a touch more on the taupe side then how it photoed here. Into that silk are very fine embroidery that forms the design that you see running over the jacket and the skirt. The skirt is pleated and the pleats close around the hip and then open to give it the volume that you see. The fabric is very light but the way that it has been sewn and pieces together give it the volume and shape you see without needing any interior skirting. I particularly love the fine notched scalloped edging around the hem. The jacket is equally incredible. The lace top you see peaking out from under the jacket is actually attached and part of the jacket. The tailoring is masterful and shows his mastery of line. It has a Edwardian/Victorian flare to it with its row of carved mother of pearl buttons that run down each side of he jacket and little flap pockets on each hip. The attached top underneath is a fine lace and feels the equivalent to a fine antique lace. I love how this buttons al the way up to a high neck and how the ruffles around the neck are the same as those on each sleeve that peak out. The little grosgrain band that extends out from the interior of the jacket is the perfect finish. This is an incredible piece of Alexander McQueen history. Excellent condition

The jacket is lined in a textured striped cotton suiting lining and the edges of the interior with a silk grosgrain fabric. It closes with the buttons down the front. The skirt is unlined and closes with a side zipper. Both pieces are tagged a size 44. It looks to have never been worn or worn very little.

Jacket
Sleeves: 25" to end of lace sleeve
Shoulders: 15"
Bust: 17" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 22" from neck to hem

Skirt
Waist: 13.5" flat across from side seam to side seam
Hips: open
Length: 27" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3369

Reference Photo: Spring 2005 Alexander McQueen Runway Collection, Look 8. Model: Dawning Han.

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 such a statement piece. It is by designer Edward Parnes who for a short time period designed with his brother Paul before their label was bought out by Mollie Parnis. Edward then had his own label for a couple of years before fading into obscurity. The dress is a fun piece with its bold stripes and dense coverage of sequins. It is completely covered form neck to hem with deep silver and copper colored sequins that are tightly spaced and cover every inch of the dress. The neckline is high and the sleeves are cut long and straight. The dress skims over the body with no defined waist. This makes it very easy to wear. The fabric the sequins are on also has a touch of stretch so it is even more comfortable when on. The skirt falls to the floor and there is even a couple more inches of sequins turned up if you needed more length. A great dress with tons of impact. Excellent condition with a note to review below

Fully lined in an ivory silk and closes with a painted metal zipper at the back and hook and eye at the neck. The fabric has some stretch. There is some grubbiness to the interior only on the collar and bodice/under arms. Please review the two photos after the label shot

Sleeves: 22.5"
Shoulders: 15"
Bust: 18-20" flat across from side seam to side seam
Waist: 16-18" flat across from side seam to side seam
Hips: 18-21" flat across from side seam to side seam
Length: 56" from neck to hem with 2.5" turned up

Modern Sizing Equivalent: SML-MED

Item# DD3366

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 stunning. It is a full length dress from her ready to wear line launched in 1970. Mollie hired designer Morty Sussman to do the initial designs and then approved everything he did before it went into production. The dress is made from a lightweight silver lame knit jersey that has a pewter undertone to with the black that is mixed in with the silver. Onto this are thousands of tiny silver sequins that have been sewn into place so the entire dress gleams in the light. These are placed flat on the fabric and cover the entire dress head to toe. The neckline is notched and the sleeves are cut long and straight. The waist gas a looser feel and it comes with a belt accented with a bow that you can use to cinch it in more if you choose to. The skirt falls to the floor under that, softly widening out as it near the hem. Excellent condition.

Unlined and closes with a back painted metal zipper. The belt hooks to close and it would be easy to adjust the hooks if needed. Note that in person it is a touch more a true silver feel then the deeper grey it photoed as. The label shot is the closest to the actual color in real life. The fabric has a touch of stretch

Sleeves: 24"
Shoulders: 15"
Bust: 17-19" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Bodice: 15" from top of bodice to waist
Skirt: 43" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3364

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

Rudi Gernreich was known for having some of the most innovative and dynamic fashion of the 1960s. His clothes made a social statement for ideas like sexual freedom, by making pieces that highlighted the female body in an unrestricted way. The Harmon knitwear line was sold at his Seventh Avenue showroom alongside his own label as of 1964.

This is a wonderful and rare example of his work during this time period and it is also just a really terrific dress. It is down in a solid black which is perhaps more subdued then what you normally think of for his work, but also makes it incredibly easy to wear. The dress is made of a lightweight wool knit jersey. This has just enough weigh to it to keep the shape and volume through the skirt that he wished it to have. The bodice is more fitted with rounded shoulders and skinny cap sleeves. It waist line comes to right under the bust and the front neckline plunged right to that seam. Below the seam under the bust the skirt flows from the waist to just above the floor. This gives it some volume and shape that perfectly balances the low plunge of the front. Very collectible and yet still very  wearable. Excellent condition.

Bust: to 17.5" flat across from side seam to side seam
Seam under the bust: 15.5" flat across from side seam to side seam
Natural waist and hips: open
Bodice: 12" from top of shoulder to seam under bust
Skirt: 41" from seam under bust to hem

Unlined and slips on the wear. There are snaps and a hook & eye that under the plunge at the front to close. Tagged a vintage 10

Modern Sizing equivalent: SML-MED

Item# DD946

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 the ready to wear version of what walked the runway for the Fall 1992 Haute Couture show. The runway version was leather and fur but here he has decide to go full on faux. The sleeves are magnificent and have all the fullness and impact of the couture version. They are incredibly full and made of a black faux fur that is glossy and thick. The body of the coat is a textured chenille velvet that does an incredible job of mimicking astrakhan. This is achieved by the swirling fabric and palette of greys and blacks. The neck line is high and the body of the jacket is cut in a straight line. It closes down the front with buffed wooden buttons. The sleeves are the star if the show and each is a full 24" around at their widest points. The come on at the wrist and I love the contrast between the two colors and the statement the strong black sleeves make. Such impact. Excellent condition.

Fully lined in a black silk satin and closes at the front with a row of carved wood buttons. Pockets on each side. It appears to have been worn very little, if at all.

Sleeves: 25"
Shoulders: 15"
Bust: 18.5" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: 21" flat across from side seam to side seam
Length: 26" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# C531

Reference Photos: (1) Yves Saint Laurent Fall/Winter 1992-1993, Paris, France.  /  (2) Cherie, Owner of Shrimpton Couture.

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

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

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

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

Modern Sizing Equivalent: SML-LRG

Item# S898

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

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

This top by Todd Oldham is fantastic and one of the most striking pieces from his time period as a designer. It has that great tongue in teeth feel that so much of his work had. It is kind of like the New York society girl's, nineties answer to western wear. It has a great faux wood print that covers the silk and onto that as sweet little roses scattered everywhere. At the back is a framed portrait of a horse against a blue sky backdrop with perfect clouds floating by. I love the coiled brass buttons that circle little black drops. It has french cuffs and its original cuff links that match the buttons down the front and are a larger more elaborate version of those. It is meant to be oversized and easy to wear. Excellent condition

Unlined and buttons to close at the front as shown. French cuffs with the orignal hand made cuff links. Tagged a S and meant to be oversized so should fit a variety of sizes.

Sleeves: approx 22" from natural shoulder, the actual seam is dropped
Shoulders: 18" across but the seams are dropped
Bust-hips: to 23" flat across from side seam to side seam
Length: 28" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# S897

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 had a version of this dress before that was a bit more elaborate then this one but I actually this simplified one with its sleek lines that allow the print it really stand out. This is a fabulous 1970s Mollie Parnis dress and I think that it is very hard not to love such a strong statement piece. That bold print gives it such drama and yet, it still has a soft and sexy element to it. The chiffon that it is constructed from has been custom screened with a fantastic bold plaid design. The pattern is a combination of deep corals and reds with pops of different colored stripes running through including a bright green and a royal blue. The  bodice has a plunge front and this same deep V is done at the back as well. Under this the waist is defined by a wide band of gathered fabric. From there the skirt flows to the ground from pleats that circle all the way around the waist. The then softly open so that the skirt has a touch of volume. This also gives the skirt lots of movement when you move. The contrast between the colors and the refined cut is fabulous. Excellent condition.

Fully lined in a deep raspberry silk crepe and closes at the back with a painted metal zipper.

Bust: 17-19" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: open
Bodice: 11.5" from top of bodice to top of waist band
Waist band: 4"
Skirt: 41" from bottom of waist band to hem

Modern Sizing Equivalent: SML-MED

Item# DD3360

Reference Photo: Cherie, Owner of Shrimpton Couture.

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

This is an incredible dress and jacket set that would be from when Marc Bohan was head of the Dior atelier. It is a beautiful and early example of the work being produced by Christian Dior in this time period. This is the Christian Dior - New York label and is considered to be demi-couture from this time period of Dior's history. These where made for the American market based on the runway designs and with many of the same high standard finishes that Haute Couture pieces incorporated.

This set is just spectacular. It has a simple, refined cut that is made glamorous by the wonderful fabric choice. The fabric is a beautiful wool silk that has a touch of weight to it so that the lines are perfectly held. It has a cream base with squares running over its surface. Each is a peach outline that then has a gold and peach medallion in its centers. In person the peach is brighter and better. The metallic gold lame thread is slight raised up from the fabric so it gives a touch of dimension besides the shine. These cover every square inch of the fabric. It is made of two pieces. The inner dress is a simple sheath that is cut so that is skims over the body and slightly flares out as it reaches the hem. It is sleeveless and the neckline is a simple scoop. It comes with a gold metal and rhinestone chain belt that slips through the loops that run around the low waist and then the belt hooks. The belt is real metal and has crystal detailing set along every 4 inches. I love how it ends in a gold tassel that dangels down under where it hooks. Over this is a little matching jacket that is sheer perfection in cut. It has a neat little collar and box cut. There are no closures and it is the perfect finish once it is popped over the dress. What I love about it is that when the dress is worn on its own it has that touch of a mod feel that the sixties were all about but once the jacket is on it has a very refined feel. Excellent condition with a small note below

Both pieces are lined in a heavy cream silk crepe with an additional silk chiffon interlining through the dress. The dress closes with a had set, hidden zipper at the back. The jacket slips on with no front closures. The belt hooks to close. There is a slight grubbiness to the lining of the inside back collar  of the jacket and one very minor nick out of the fabric on the jacket. Please see the photo after the label shot. . Otherwise the set appears to have been worn very little if at all. Hand finished and very well made to demi-couture standards.

Jacket
Sleeves: 22"
Shoulders: 15"
Bust: 19" flat across from side seam to side seam
Waist: to 18" flat across from side seam to side seam
Length: 19" from neck to hem

Dress
Bust: 17.5" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 38" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD3357

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

This dramatic little dress by Vicky Tiel is fabulous. It is made from a fantastic metallic gold lace type fabric that has a black base over which the gold has been directly applied. This allows the black to peek through and the gold really highlights the pattern in the fabric. It gives it extra depth and visual interest. This then sits over an inner fitted base that is structured and molded to the body. It is shaped like a corset inside to give you shape with both boning and inner structure. The front has a plunging version of a sweetheart neckline and I love the dramatic curve of it. The bodice is molded tot he torso and covered with gathers that emphasize your curves. Amazing little cap sleeves sit off the shoulders and wrap around the upper arms. The waist nips in and it is fitted around the upper hips. Under that the skirt explodes out in a dramatic pouf of fabric that is fall all the way around. the shape is held by layers of stiffened organza and tulle under the gold. Countless modern pieces right now are based on dresses just like this and I am happy to have this amazing original in the shop. Excellent condition.

Fully lined in a black silk and closes with a back zipper. Very well constructed with the entire inner bodice shaped, boned and fitted. It appears to have never been worn or worn very little. Handwritten tag, marked a vintage 42

Bust: to 18" flat across from side seam to side seam
Natural waist: 13" flat across from side seam to side seam
Seam at bottom of bodice: 16" flat across from side seam to side seam
Hips: open
Bodice: 19" from top of shoulder to  bottom seam, 16" from top of bodice to bottom seam
Skirt: 16.5" from bottom seam of bodice to hem

Modern Sizing Equivalent: SML-MED

Item# DD3356

Reference Photo: Vicky Tiel in Town & Country Magazine, December 1984.

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