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

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

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

Modern Sizing equivalent: MED-LRG

Item# E416

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

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

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

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

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

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

Modern Sizing Equivalent: SML-LRG

Item# DD3243

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

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

Pauline Trigere launched her label in 1942. She had moved to the US from Paris in 1937 and her designs always have that bit of a French feel to them. By 1949 she had been awarded a Coty and won one again in both 1951 and 1959. The 1959 win coincided with being inducted into the Coty Fashion Hall of Fame. She as a pioneer in the use of cottons and wool for evening, In 1961 she made headlines for being the first major fashion house to use amply an African American model.

This is a gorgeous dress that has been done using layers of a black ribbon silk that is printed with two variations of a snake print, one in red and one in a tan color, on the exterior panel/overlay. The fabric also has a fine gold thread running through it that gives it a hint of glitz as it catches the light. The inner part of the dress is finished solely with a ribbon feel to it that gives it yet another added bit of texture. The touch of transparency to the silk chiffon also gives it an added dimension. It is constructed with a simple inner sheath that has an overlay of silk falling over it from the neckline. The entire dress is suspended from the shoulders from two silk straps in the same version of the fabric as the inner sheath. The inner dress zips to close at the back and then the full length panels of silk fall over this opening the full length down the front. When you move this creates tremendous movement as the silk overlay billows around you. The dress comes with its original matching sash that is very long. I have showed a couple of ways it could be used and you could also wear it as a headpiece or turban. This is one of those pieces that may look like nothing special off the body or on the dress form but once it is on an actual body it comes to life. It is an unusual design and quite forward for its time period. Excellent condition

Fully lined with a nude silk chiffon and zips to close at the back. Hand finishes throughout. It appears to have been worn very little if at all.

Bust: 17" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 57" from top of shoulder to hem
Scarf: just under 9 feet long x 21" wide

Modern Sizing Equivalent: SML-MED

Item# DD3441

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.

Voguepedia says of Gilbert Adrian: "In the hands of the legendary Hollywood designer Gilbert Adrian, clothes could do and say magical things. From the flower-festooned munchkin costumes in The Wizard of Oz to the elegance-defining “Gowns by Adrian” worn by screen stars like Norma Shearer, Barbara Stanwyck, and Joan Crawford—and copied by the hundreds of thousands for the humbler masses—Adrian was the definition of cinematic invention for more than a decade.....Adrian’s signature custom-retail label, founded in 1942, was wildly popular. His gowns bore distinctive names like “Dinner with a Dash of Gold” and “Shades of Picasso,” and he catered to an elite set of style mavens in Hollywood."

After some extensive research I believe this gown is from from Gilbert Adrian's 1945 collection. It was sold to my client and dated as being from a few seasons later, but I feel that the advertisement that I found is too much of a coincidence with its similar feeling pattern worked through the design. The gown is absolutely outstanding and in a world where Adrian Gilbert pieces are already rare, this particular gown is even more special, even if you simply based it on how utterly beautiful it is. It is made of a stunning black silk that has a metallic lame thread woven through it to create the design work that you see. The metallic parts are done in a gold  mixed with a bright, true green and a deeper olive. The addition of the metal thread gives the entire ensemble a subtle glow. The fabric has a good weight to it that helps it to hold the shape and also adds to it rich and luxurious feel. This is fabric that you would simply not be able to even have made anymore. The Grecian inspired pattern is woven through the entire fabric. The addition of this metallic thread highlights the design that runs all the way around the skirt and the top. The top is a simple halter bodice with straps that curve up and around the shoulders. It curves in towards the waist through vertical seaming and is cut to end exactly on top of where the skirt flares out. Once on it gives the illusion of a true gown. The top is entirely finished with the metallic thread, allowing us to see the full beauty of it. The skirt sits under this and the upper portion of the waist is fitted and set high so that it creates no break or lines when it is worn under the top. From under that, a magnificent ball gown skirt cascades to the floor in a sweep of silk. The construction of this is wonderful and it is gathered all the way around the dropped hip seam and set into that seam with a series of tiny, perfectly spaced knife pleats that open up to the fullness you see. I styled this over a light, full length crinoline to really give it the proper shape it would have had been meant to be worn as when it was made. The shape that this creates is amazing. The dress is entirely hand made to Haute Couture standards. This is a rare opportunity to own an original Gilbert Adrian that is not only in wonderful condition but is also heart breakingly beautiful and still to this day, feels modern and wearable. Excellent condition.

Both piece are unlined with hand finished inner seams and the inner construction is done to Couture standards. The skirt closes with a painted metal zipper and hook & eye on the inner waist band. The top closes with a back painted metal zipper. The skirt was photoed over a full length crinoline that is not included. I have included detail photos of both the fabric and the inner hand done seams. The top looks like it has been out along the side seams from the waist up on both sides and one seam on the fitted part of the inner top skirt was also opened at some point. The work is well done and it could easily be made smaller again if needed.

Top
Bust: 17.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 25" from shoulder to hem

Skirt
Waist: 13" flat across from side seam to side seam
Hips at lower seam of skirt: 18.5" flat across from side seam to side seam
Length: 44" from waist to hem with a 3.5" hem turned up

Modern Sizing Equivalent: SML-MED

Item# DD3242

Reference Photo: Gown by Gilbert Adrian, available at the William H. Block Co., Indianapolis, 1945.

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 knit and sequin detailed jacket by Adolfo. Adolfo started his career under Balenciaga and like Halston, was a successful milliner before opening his own fashion house in 1962. He initially focused on hats but in in just a couple of years added a full clothing line. By 1969 he was presented with a special Coty Award for his contribution to design from head to toe. He became know for his Chanel inspired clothing and many of his pieces are on par and perhaps even more relevant in feel then their inspirational equivalents of the time.

This dress is gorgeous. Adolfo often did custom work for his clients who ranged from the Duchess of Windsor, to Jackie Kennedy Onassis, Gloria Vanderbilt and Nancy Reagan and this dress feels like it is done at the quality of one of his custom pieces. I love his work and am very pleased to have this exceptional dress in the shop today. It is made of a jet black knit that has a slight ribbed texture to it. The cut is very simple as it is one long sheath of knit that is suspended from the tiny shoulder straps. The dress is cut to skim over the body, gently widening out as it nears the hem. A slit runs up one leg for a flash of skin. The straps curve around the shoulder and each is finished with a silver lame braiding and silver sequins. The straps are set into the neckline that is cut straight across and has an elastic running through it so that it is very easy to wear and very comfortable on. Onto the dress are four separate and gorgeous sprays of sequins that have a bird of paradise, or perhaps a firework feel, with their brilliant sparkle and combination of color. Each is finished with a a crescent of red rhinestones that give the designs a more 3D feel. It is just gorgeous and even better in person. Excellent condition.

Unlined and slip on to wear. Elastic through the neckline. The fabric has some stretch so should fit a range of sizes. It appears to have been worn very little if at all.

The top of the neckline will stretch from 12" to 18" flat across
Bust: 14-17.5" flat across from side seam to side seam
Waist: 14-16.5" flat across from side seam to side seam
Hips: 18-21" flat across from side seam to side seam
Length: 56" from top of shoulder to hem
Slit: 22" from hem up

Modern Sizing Equivalent: XS-MED

Item# DD3440

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

Pauline Trigere launched her label in 1942. She had moved to the US from Paris in 1937 and her designs always have that bit of a French feel to them. By 1949 she had been awarded a Coty and won one again in both 1951 and 1959. The 1959 win coincided with being inducted into the Coty Fashion Hall of Fame. She as a pioneer in the use of cottons and wool for evening, In 1961 she made headlines for being the first major fashion house to use amply an African American model. The 1972 collection used variations of the floral motif all through it and I believe that this dress us from the spring of that year.

That gorgeous dress has a kind of abstract rope print that helps to add to that wonderful black and white contrast that you see. For the bodice, the fabric is a fine semi-sheer silk that has a ribbon effect running through it that gives it another dimension. The skirt is the same but the parts between the ribbon finish are more opaque. The fabric choice gives the dress a wonderful soft feel that is on contrast tot eh string black and white pattern. The touch of transparency in the top combined with setting it over the inner white lining also gives it a bit of added depth. The top is cut to sit loosely over the bust. There are small gathers along the shoulders for a little bit of detailing and the neckline is set square and wide across. I think you could easily wear the sleeves off the shoulder if you wished. The sleeves are cut to billow above their elastic cuffs. The waist is seamed and below that the contrasting skirt falls in a column of fabric to the floor. I love the two big pleats set on either side that add a touch if interest to the way the skirt sits. This is one of those pieces that may look like nothing special off the body or on the dress form but once it is on an actual body it comes to life. It would look even better belted. Excellent condition with one small note to review below

Both pieces are lined with a semi-sheer silk, white for the top and black for the skirt.  The sleeves are unlined and purposely attached at the top of the shoulder only. It closes with a metal and nylon zipper at the back. There is the teeniest of discoloration to the fabric at the small of the back. Please see the last photo after the shot of the label . It photoed darker then it is in real life.

Sleeves: 19"
Shoulders: no true seam
Bust: to 19" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Bodice: 16" from shoulder to waist
Skirt: 41" from waist to hem with 4" turned under the hem

Modern Sizing Equivalent: SML-MED

Item# DD3434

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

Donald Brooks launched his self-named label in 1964 and only designed for a very short time, closing his business in 1973. During that time he did two lingerie collaborations, one with Sinclair and one with Maidenform. The pieces for Sinclair were slightly less 'lingerie' and more hostess and at home wear. This is a wonderful dress from that collaboration.

This was originally meant to be worn only at home but is just thick enough that you could definitely wear it out. It does have a touch of transparency to it but just a touch. The fabric is a nylon jersey that you can easily wash and it will travel exceptionally well. It is cut on the bias so once you slip it on it just drapes over the body. It is not meant to be super form fitting which makes it very easy to wear and very flattering on. It has that perfect one shoulder cut and the edge of the neckline is finished with a band done in a contrasting black and white print. The entire body of the dress has the print set on a angle with helps to give the wearer the illusion of more height. A very high slit up one leg belies it lingerie roots but makes for a very sexy dress for our modern world. Excellent condition

Unlined and zips to close up the side.

Bust: 17" flat across from side seam to side seam
Waist: to 16" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Length: 57" from top of shoulder to hem, with 1.5" turned under the hem
Slit: 30.5" from hem up

Modern Sizing Equivalent: SML-MED

Item# DD3433

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

Guy Laroche began working for Jean Desses in 1949 and eventually launches his own Haute Couture label in 1957 at 37 Avenue Franklin Roosevelt in Paris. He was known for being gracious and humble and eventually ventured into ready to wear in 1961. This dress is from his Haute Couture label and is even though it is not perfect, it is a beautiful example of the work he was doing in Paris at the height of his career. Laroche once was quoted as saying "“It is my intention to try and adapt haute couture to modern requirements: to make dresses that are simple and chic.” 

The dress is very beautiful and of course made to exquisite standards. It is entirely hand made and bears the Haute Couture label. It is made out of a heavy ivory silk. The cut of the dress is simple. The neckline is cut wide across so that you get just a glimpse of the top of the collarbones. The sleeves are to the elbow and are cut wide and straight. There is just the suggestion of shape through the waist and then it falls to the floor in a gently widening curve. Inside the hem the skirt is weighted so that it always falls perfectly and this also helps to hold the intended shape that you see. The entire bodice is densely covered in a combination of tiny black seed beads and large black paillettes. These are set on 3 dimensional loops that cover the upper shoulders and sleeves and then gradually become more of a flat embellishment and are spaced out more as they reach the waist area. Because of the way they are set onto the silk these have a ton of movement so when it is on and you move they have a real tactile quality to them. At first glance the dress seems to be in great condition and it is structurally sound but it does have scuffing and light marks throughout. I have included lots of photos after the label shot. Even with the small flaws it is an incredible example of couture being produced at this time period. Good overall condition

Fully lined in a white silk organza through the bodice and a silk through the skirt. It closes at the back with a hand set fine painted metal zipper. Weighted hem and completely made by hand. Haute Couture label preset. Scuffing, light foxing and small water marks throughout. Please review the photos after the label shot and read the description above.

Sleeves: 15"
Slightly dropped shoulders: 16"
Bust: 18" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 54.5" from top of shoulder to front hem, 56" to back hem

Modern Sizing Equivalent: SML-MED

Item# DD3432

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

George Halley started at Charles James who said of the young designer that he 'was a genius at draping'. By the time Halley opened his own atelier in 1966 he was well on his way to fame. He won the Coty Award in 1968 and his work is on par with couture. He is one of my personal favorite designers. In 2015 I included him in my list of: The 10 Designers to Add to Your Vintage Collection' for Harper's Bazaar, saying; 'If you want old school glamour and to feel like Hollywood royalty, look to this under-the-radar label outside of vintage circles... A Coty Award winner in 1968, Halley was one of the great American Couturiers and his work always feels grand and elegant. Think polished silk and fused velvet's and embellishments that have a touch of the Grand Old South to them. Silhouettes to look for are his sweeping ball gowns and hostess gowns. Rich fabrics and rich colors are used with a master's hand. Feathers, crystals, hand painted fabrics and fine workmanship are all things to expect from a George Halley gown. Slipping one on instantly makes a girl feel special and important. These are the showpieces and while you should expect to pay for the quality and beauty of what you get they are absolute jewels'. The best of his work are the pieces that show his love for Old Hollywood glamour combined with his love for over-the-top opulence. Women's Wear Daily called him 'a designer in a lovely world of his own'.

This dress is very pretty in person and the camera does not capture the depth created by that the gold thread woven into the fabric. A George Halley design always starts with his the fabric that he has chosen. For this one he has used a stunning silk brocade that uses real metal thread in a gold tone that is densely woven through the silk. The color is a soft pastel teal blue green through the body and then the collar, waist and down the sides of the skirt are highlighted with a panel of the same type of fabric in a soft dusty pink. The bodice is cut to be more fitted and has a high neckline and narrows down into the cinched on waist. Each sleeve is long with a wide cuff on that pink fabric. The skirt falls to the floor and there is a surprising amount of volume in it. It widens out gradually as it falls from the waist and is set into the waist with a series of soft folds. This is an attached band of matching fabric in the pink that wraps and hooks to close around the waist. The hidden details are exquisite with each snap covered in silk and set into place by hand. It is made to couture standards. In person the gold has a bit more of an impact and catches the light when you move.  This is a remarkable dress that would be impossible to replicate in our modern work. This is almost certainly a one-off and a wonderful find. Excellent condition with a small note to review below.

Fully lined in a hand set turquoise blue silk. It closes with a hand set back zipper, The waist sash and hooks to close. Each sleeve has hidden, hand covered silk snaps. There are some breaks along the edge of the hem, please see photo after the label photo. There is also minor fraying to the edge of the collar . Neither of these notes detract and the gown is extraordinary and very beautiful.

Sleeves: 14"
Shoulders: 24"
Bust: 18" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 14.5" from top of bodice to waist
Skirt: 43" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3430

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 such a pretty and romantic piece by Rosie Assoulin. It is from the Resort 2018 collection and was look 32 in the presentation. The original price on this was was just under 3k. This one has never been worn and still has its original sales tags. It would make a love garden party dress or even a wedding dress for a bride who does not want to go the traditional route.

The dress has an asymmetrical feel and is cut to spiral down and around the body. It shows Rosie's quirky sense of design that still manages to be refined and elegant. There is a reason why the top stylists in the world source from Rosie's work on a regular basis for their clients red carpet appearances. The bright flowers that cover the entire dress were inspired by bodega flowers—specifically, the paper wrappers that come with the blooms. Hence the 'Say it with flowers' slogan found at so many New York bodegas and now printed onto the dress. I love that it is printed in several ways. It runs over the straps that curve around the shoulders and throughout the base satin finish fabric. More flowers and that same slogan are printed across the silk chiffon panels that flutter over one shoulder and then down and around the body to the hem. The flowers that you see are a combination of direct printing onto the fabric and velvet flocked parts to give a touch of texture and an extra tactile sense. It is an easy to wear dress and makes the prettiest statement. I love it. Excellent condition

Fully self-lined in white through the entire dress. It closes with a hidden set zipper. Light boning on the sides of the bodice. Pockets hidden along the side seams. The shoulder straps seemed to be cut a little long on  my dress form but they could easily be adjusted if you found that on you as well. Original price/hang tag attached and it has not been worn. Tagged a modern US10

Bust: 18.5" flat across from side seam to side seam
Seam under bust: 16" flat across from side seam to side seam
Natural waist: 18" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Bodice: 13.5" from top of shoulder to seam under the bust
Skirt: 46" from seam under the bust to longest point of the hem

Modern Sizing Equivalent: MED-LRG

Item# DD3428

Reference Photo: Resort 2018 Rosie Assoulin Collection, Look 32.

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

Surprisingly, this Azzedine Alaia dress is from one of his more recent collections despite its nod to some of his more classic work. He actually did a very similar dress to this in the 1990s with a slightly different woven pattern. It is made from ribbed and patterned knit in a stark white. This lies over a nude colored inner sheath so that it appears that you are wearing the knit over your bare skin. This inner lining is a stretch knit that hugs and molds to your body to help hold things in place and create a smooth line for the dress to fall over. As with all Azzedine Alaia pieces, this dress is cut to hug and highlight your every curve. The workmanship and the fabric is the best you can get and I love the saucy, flippy little skirt at the hem that finishes the dress with its feminine ruffle. A V neck at the front and no sleeves are the perfect balance to the long, supermodel length. This still has part of a Barney's tag attached and has never been worn. This is classic Alaia and a play on an earlier design he made famous in the nineties. Excellent condition.

Fully lined in a nude lingerie weight jersey. It slips on to wear with no closures. Tagged a modern Alaia 38 but has lots of stretch so should accommodate a range of sizes.

Bust: will stretch to about 18" flat across from side seam to side seam comfortably
Waist: will stretch to about 15" flat across from side seam to side seam comfortably
Hips: will stretch to about 18" flat across from side seam to side seam comfortably
Length: approx 62" from neck to hem

Modern Sizing equivalent: XS-MED

Item# DD3423

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 and rare Donald Brooks Boutique set has the added provenance of its twin being photoed on Marisa Berenson for the May 1970 issue of Vogue. From my understanding the Boutique label was launched in 1971 and I wonder if this was an early forerunner for that label and perhaps Vogue was given the inside scoop on it. Or perhaps Brooks did some pieces for his soon-to-launch label on a small scale that year before launching the full label for the more general public. Either way it is an exceptional set with a fabulous provenance.

These cropped pant and top sets are the absolute epitome of that early seventies flower power hippie movement. The pants have an extra wide legged cut and they have a slightly cropped feel to them depending on your height. The waist on them is elastic and this allows you to wear it either higher up or low slung on the hips. The top is cropped and it is cut to be fitted to the bust. Its short length shows off a taut, tanned stomach. The front buttons with little round buttons and silk loops. Four at the bottom and one at the top with a slit opening below. There is also a little tie above the top button. The sleeves are cut wide and full above the buttoned cuffs.  I love the edging of bright flowers that adorn the waistline and hem of the skirt as well as run around the bottom, top and sides of that sexy little top. The fabric is a beautiful silk twill and I love the contrasting pattern between the top and pants. The pants are finished on a abstract stripe and the top is done in a floral and geometric feeling print. The combination of the bright turquoise, white, purple and pink is killer. Excellent condition

Both the top and skirt are lined in a bright matching turquoise silk. The top closes with a series of buttons at the front and the pants have elastic at the waist

Top
Sleeves: 24"
Shoulders: no defined seam
Bust: 18" flat across from side seam to side seam
Under bust at seam: 14" flat across from side seam to side seam
Length: 12" from shoulder to hem

Pants
Elastic waist: will stretch from 11"-18" flat across from side seam to side seam
Hips: to 25" flat across from side seam to side seam
Length: 37.5" from waist to hem with 3.5" turned under the hem
Inseam: 23.5"

Modern Sizing Equivalent: SML-MED

Item# DD3421

Reference Photo: Marisa Berenson, in Donald Brooks, by Irving Penn for Vogue, May 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.

I actually already own the twin of this dress and I love it. It is a gorgeous dress to wear in the warmer months. It is well made and has beautiful lines. When it came out it was sold out everywhere after it as featured in the ad campaign and being seen on the runway. Style icon Erica Pelosini had one as well and you can see just how gorgeous the dress is on an actual body in the several reference photos attached.

The dress has a simple design that has a bit of a vintage feel that I love. It is strapless and the top portion of the dress is very fitted to the body. This is achieved by seaming that curves to fit the bust and by light boning that runs down each side. The skirt is set in at the waist with a series of soft gathers that go all the way around the waist. This gives it some fullness and makes the waist look tiny. It billows out from there with quite a bit of volume, widening out as it nears the  hem. At the bottom of the skirt is a wide panel of the same fabric that is also attached with soft gathers so that you get an incredible amount of volume  and fullness. This perfectly balances out the more bare top and creates a beautiful silhouette. The fabric is a crisp, high end  cotton that almost has a starched feel to it. Excellent condition

The top is lined in the same fabric and the skirt is unlined. Closes with a hidden set side belt. Has inner bust and waist stays to help support and keep the dress. This one did not have the sash shown on the reference photos and priced accordingly. Was just under 3k new. Appears to have been worn very little if at all. Tagged modern 42

Bust: 17.5-18" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: open
Bodice: 10" from top of bodice to waist
Skirt: 42" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3420

Reference Photos: (1) S/S 2016 Salvatore Ferragamo, Look 36, Model: Julia Nobis.  /  (2) Maartje Verhoef for Salvatore Ferragamo Ad Campaign, S/S 2016.  /  (3) Backstage at S/S 2016 Salvatore Ferragamo Runway Show.  /   (4) Erica Pelosini in Ferragamo, Spring 2016, from her Instagram.

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 late 1970s Lanvin jumpsuit has the feel of an earlier decade but with a more updated cut to reflect its era. At that time Lanvin was focused on trying to appeal to their younger, jet set client with easy to wear pieces. This great little playsuit fits that bill perfectly. It is made out of an ivory and gold silk brocade and I love the swirling, slightly 3D feeling pattern that runs over the entire thing. The patterned parts are made out of gold metallic lame thread and these really catch the light wonderfully and give the suit a touch of high glamour. It buttons up at the front so you can choose to wear it as open and low as you dare.  Each button is hand covered in the same fabric so that they do not draw away from the design. It is sleeveless and the collar appropriately pointed for the era. It skims down and over the body with just the suggestion of shape through the waist. You could easily add a belt to cinch in the waist and add more shape if you wished. The shorts part of are cut wide like a loose boy short. I love it. Excellent condition.

Fully lined in an ivory silk and closes with the buttons down the front.

Bust: 17.5" flat across from side seam to side seam
Waist: 15" when measured flat across the back from side seam to side seam
Hips: 18.5" flat across the back from side seam to side seam
Full length: 33.5" from neck to bottom hem of short with about an inch turned under
Inseam: 3.25"

Modern Sizing Equivalent: SML-MED

Item# DD3418

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

In 1981 Haslton was still in full control of his brand. He had not yet signed the international licensing agreements (that was to happen in 1983) that would be the beginning of his downfall. In fact, at this point in the Halston history, he was at the top of his game and anyone who was anybody was wearing the Halston label. His prices were sky high and the work put into the pieces was impeccable.

Halston was still personally choosing the fabrics and materials that were used for each piece of his main line collections. The 1981 collection was especially intricate and the majority of the runway garments were heavily beaded and/or sequinned. This top is from that collection and is one of the heaviest, most densely beaded and sequined pieces I have ever had from him in the shop. It is drop dead gorgeous. The base fabric is a black silk crepe chiffon. Onto this is a dense application of deep fuchsia sequins, silver sequins and silver glass tube beads. These have all been hand applied and individually placed in that curving designs and they completely cover the top with not a single inch left uncovered. Parts of the design that follow the silver curving parts have a dangling fringe made out of the tube beads. These add an amazing movement to the top when you move. The top itself is cut loose and easy with a wide boat neck, dolman sleeves and an easy cut through the body. Each sleeve ends in a 'flame' like jagged finish that I love. Incredible example of his work and even better in real life. Excellent condition.

Fully lined in a black silk crepe chiffon and slips on to wear. All the work is done by hand. The easy cut should allow it to fit a range of sizes and would work on a small frame too and just be oversized.

Sleeves: approx 25" approx.
Shoulders: no defined seam
Bust: approx 18" flat across but no true side seams due to the cut of the arm
Waist: to 17" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Length: 23" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# S904

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 Halston's work and personally think that his coats are exceptional. He tended to keep them extremely minimalist and that makes them virtually timeless. This one is cut to just below the knee and I think this length makes it very versatile. It is cut with the utmost respect to the fabric with minimal seaming to create the beautiful sleek line that you see. The curves and simple seams become a part of the design and all of them are set vertically. The color is a deep jet black and when done in this fabric that mixes wool and cashmere has the feel of wool blanket. It slips on and buttons into place. The upper body is more fitted and this is balanced with the  lower portion of the coat where it flares out from the hip. Pockets sit along each hip and the glossiness of the buttons down the front are the only decoration. It is a wonderful versatile piece that is very wearable and collectible. Excellent condition.

Unlined with finished interior seams. It buttons to close at the front. Pockets on each hip

Sleeves: 23"
Shoulders: 15"
Bust: 18" 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: 47" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# C543

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

Pauline Trigere launched her label in 1942. She had moved to the US from Paris in 1937 and her designs always have that bit of a French feel to them. By 1949 she had been awarded a Coty and won one again in both 1951 and 1959. The 1959 win coincided with being inducted into the Coty Fashion Hall of Fame. She as a pioneer in the use of cottons and wool for evening. In 1961 she made headlines for being the first major fashion house to use amply an African American model. The twin of this 1971 piece is held in the Met Museums permanent archives. There is is referred to as being a dress but you would easily wear this as a coat as well

The dress, or coat, depending on how you decide to wear it, is made out a black knit jersey that is then edged in a sweeping panel of back dyed fox fur. It is very reminiscent of pieces that you would have seen being produced in the 1920s. It draws heavily on that silhouette but without feeling like a copy with the use of the modern jersey for the fabric choice. The sleeves are cut long so that you can wear them down over the wrist or push them up. The body of the coat is slim cut but not overtly fitted. It wraps and buttons to close and has that famous cocoon shape of the roaring twenties. The fur panel is wide and follows the curves of the piece as it wraps around the back, down the front and curves around the hem. It is cut so very simply but yet is so very dramatic one on an actual body. It is a wonderful example of her work and the time period. The fact that the Met Museum holds the exact twin of it should give you an idea of just how collectible it is. It really is one of the best cut pieces I have ever had in the shop. Excellent condition.

Fully lined in a second layer of the same fabric. Beautifully finished inside. It closes with buttons that follow the curve you see at the front. Each sleeve has a zipper at its cuff. It appears to have been worn very little if at all. Beautifully made. The jersey does have some stretch. The easy cut should allow it to fit a range of sizes

Sleeves: 24"
Shoulders: 15.5"
Bust: to 20" flat across from side seam to side seam
Waist: to 21" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Length: 58" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD3412

Reference Photo: (1) 1971 Trigere Evening Dress/coat from The MET Online Collection.  /  (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.

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 Pauline Trigere dress is gorgeous and has been made with a very high level of construction and thought put into how the fabric was laid out to highlight the lines of the dress. It is constructed from a light weight lame fabric in gold and black. The huge matching scarf that it came with is made from the same fabric and I love that this gives the dress that little bit extra versatility. You can wear them together or use the scarf as an addition to pieces you already have in your wardrobe. The fabric of the pieces becomes an important part of the design as it allowed Trigere to give the dress the drape that it has. She also used the layout of the print to highlight the lines of the dress. The print combines a leopard feeling stripe with a small dot. The two patterns are placed beautifully over the surface of the dress. Over the bust and waist the seams are placed horizontally. Under that it falls to the floor in a graceful column that sees the panels of fabric used vertically to add length. The skirt is cut with a touch of fullness through the hip and it has a high slit set off side at the front. The waist is detailed with piping in the same gold fabric and a delicate little bow sits above the seam that the slit is placed along. The bodice has an inner fitted interior that hugs the body and keeps the dress in place. Over that, the silk is draped and hand placed across the bust to create the soft pleat work that you see. The shoulders and arms are left exposed. The workmanship is exquisite. Excellent condition with one minor note below

The skirt is fully lined in a black silk chiffon and the bodice in a black silk. Lightly boned through the sides. The shawl is unlined with hand finished turned under edges. Hand finishes throughout the dress. Note that the top edge of the bodice where the side set zipper is places does not perfectly line up. It does not affect the fit or comfort of the dress when worn so have left it as found with a price adjustment made accordingly. Please review the photo after the label shot. 

Dress
Bust: to 17.5" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Bodice: approx 10"
Length: 43" from waist to hem

Shawl
53" x 52"

Modern Sizing equivalent: SML-MED

Item# DD3159

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

Jean-Louis Scherrer started off working for Dior in 1955, leaving there when Yves Saint Laurent was appointed to the head designer position. He then joined Louis Feraud and stayed there until launching his own couture label in 1962. He was known for his evening wear and soon had a loyal following. In 1971 he launched his ready-to-wear line. The earlier pieces especially were extremely well made and often had many hand finises throughout like this dress does. The construction of this dress in particularly is closer to demi-couture then RTW.

This is the dress you want when you really need to make an entrance and take center stage. It is completely covered in sequins. Every square inch of the exterior of the dress is covered in tiny hand placed and applied sequins. The main color is a pale silvery-gold and then there are copper sequins mixed in to give it that flame effect that you see. The combination of these form an incredible design that covers the entire dress. I call if the 'flame' dress because the shapes at the hem and the way the copper sequins are done, suggest flames scattered over the dress. The bodice is cut into a halter style and the straps curve up and behind the neck. This leaves the back completely bare and open. The dress skims over the waist and hips and then falls to about the ankles depending on how tall you are. The jagged hem lets you see a touch of skin underneath and this is deliberate so that there is no missing out on the incredible way the hem is finished with it jagged little ends. Even these have each been covered in sequins by hand. It is an incredible piece and looks to have been worn very little if at all. Excellent condition

Fully lined in an ivory silk and closes at the back with a metal and nylon zipper. It hooks to close at the back of the neck. It appears to have been worn very little if at all. Hand finishes throughout

Bust: 18" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Hips: to 19.5" flat across from side seam to side seam
Length: approx 58" from top of neck to longest point at the hem

Modern Sizing Equivalent: SML-MED

Item# DD3411

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 wonderful and even better once it is on an actual body. It is made of a lightweight metallic gold lame fabric. The fabric really elevates the dress and gives it an evening feel. The gold makes a strong statement and gives it that extra shot of glamour. The fabric is quite light in weight so despite the elaborate construction of the dress is not heavy to wear. It still does hold the intended shape fabulously. The bodice is cut in a strapless, rounded sweetheart finish that is very flattering. It is elaborately gathered and fitted around the bust with hand placed and gathered folds. Inside there is internal structure and light boning so that is stays perfectly in place. Under that the skirt is set into the bust to follow the angled line at the front. It is set in with soft gathers all around, giving the illusion that it is wrapped around you. The front overlaps and this allows a bit of leg to show when you walk. It is wonderful. Excellent condition

Fully lined in a black silky rayon and closes with a painted metal and nylon zipper at the back. Light boning at each side of the bodice. Some light fading to the interior lining

Bust: 17" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Bodice: 7.5" from top of bodice to waist
Skirt: 41" from waist to longest point of the hem at the back. The front curves up slightly

Modern Sizing Equivalent: SML-MED

Item# DD3410

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

James Galanos was known as the designer that could rival the French in terms of construction and design. He launched his atelier in 1951 and though he was never a designer that was formally made a couture house he certainly produced clothing with many of the hallmarks that define couture, thus giving him the status as being known as one of the 'American Couturiers'. 

The dress is constructed from a very unusual fabric combination that gives it that ethereal feel. A layer of a beautiful lightweight silk  is covered with a layer of white silk chiffon. This is done both for the outside and the full interior. The unexpected luxury of this would not even be able to be economically done now. The three layers are completely attached at all the seams. The print is on the innermost silk layer. The entire dress is cut on the bias and as the white chiffon moves over the inner layer in the small way that it is allowed, you get this pretty and romantic diffused feel to the print. It is such a simple but extremely clever way to create an extra layer of softness. The print runs over the entire dress and as it is on a body and it moves it just gets prettier. The dress under the attached cape is very simple. It is cut to skim over the bust, waist and hips and then flares out on all sides to the hem for a pretty volume when you move. The back of the skirt is cut slightly longer then the front. The skirt actually has a lot of fabric in it, falling softly and in a more sleek way when you stand still and then really moving and showing how much is there when you move. All of the seams are vertical and have been done by hand. This vertical seaming really helps to add to the feel of length the dress has. Around the neckline is an attached caped panel of the same silk & silk chiffon. Here the fabric is finished in the same way as the body of the dress with that same attached layer of weightless silk chiffon on the top and then it is also finished that same way underneath. This floats over your shoulders, arms and then curves around and behind the body for a beautiful caped effect. The lightness of the silk there gives it a billowing effect when you move and walk that is stupendous. A really lovely and romantic dress that is even better on the body and in real life. Excellent condition with one small note to review below

The innermost layer of the silk chiffon as per the description above acts as the lining. It closes at the back with a hand set metal and nylon zipper and a silk covered button and loop at the back neck. Hand finishes throughout. I see two teeny marks on the front cape. They may come out with another round of cleaning. Please review the photo after the shot of the label. It looks to have been worn very little otherwise.

Bust: 17-18.5" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 56" from neck to front hem, 58" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD3404

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.

Bill Blass became the head designer at Maurice Rentner in 1959 and soon after that his name started to appear on the labels. In 1970 he bought out the Maurice Rentner label and re-launched it under his own name. These Bill Blass for Maurice Rentner pieces, are some of his earliest and you will find many of them, like the twin of this coat, in museum collections throughout the world. Blass was arguably one of the most famous of all the American designers. His forte was the ability to mix simple styles with luxurious materials and his evening wear in particular seem to have a way of flattering the wearer even at their most extravagant. This piece has the additional bonus of being able to be worn as either a coat or a dress

This early Bill Blass coat is particularly gorgeous with its metallic gold and deep blue silk brocade fabric. The base of the coat is a deep blue silk. Onto this, in horizontal rows that run over the entire coat, is an incredible and intricate design that has been created out of gold lame and gold thread. The gold pops off the blue base and has a lovely way of catching the light. The coat has a bit of a military feel to it and I love how the pattern is laid out to highlight the high collar and cuffs. Flap pockets are placed on the front of the coat. One on each hip and then two more on each breast. They are perfectly set tot follow the pattern and each has a large bead covered dome button to secure its flap closure. The same big bead covered buttons run down the front giving the coat a neat and polished feel. The shoulders are structured but are not padded. There is a subtle fabric epaulette across the top of each shoulder. The sleeves are long and he took the time to make sure that the fabric lines up with the body of the coat. The fairly simple design of the coat allows that beautiful fabric to take center stage. An interesting thing about this one, it closes all the way to the bottom hem so could be worn as a dress as well. Excellent condition

Fully lined in a blue silk and closes with silk covered snaps hidden behind each hand beaded dome button down the front. All four pockets are functional. Hand finished throughout. It appears to have been worn very little if at all. 

Sleeves: 23"
Shoulders: 15"
Bust: 19" flat across from side seam to side seam
Waist: 18.5" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 37" from neck to hem with 4" turned over under the hem

Modern Sizing Equivalent: SML-MED

Item# C542

Reference Photo: Samantha Jones in Bill Blass, photographed by Richard Avedon, Vogue October 1968.

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

A patterned version of this coat was photographed for The Daily Telegraph Magazine in September 1973 and featured Jean Shrimpton and Barbara Miller. I am very pleased to have an all black version of it for the shop as it is exceptional

The coat is wonderful. It has those fabulous Art Deco lines that Barbara Hulanicki favored. It is made out of a light black faux fur whose pile lays flat and has a textured feel to it. It is soft and supple and falls beautifully once one. The coat zips up the front to a high funnel neck. It is more fitted through the shoulders and then falls, swinging outwards with quite a good amount of fabric. The shoulders and sleeves are spectacular with that high capped cut Hulanicki became known for. From those wonderful shoulders each sleeve falls, gradually widening out as they near their cuffs. This is from the Big Biba store era. It is a wonderful piece of fashion history and very wearable and chic. Excellent condition 

Fully lined in black silk. It zippers to close at the front and has pockets on each side. Perhaps the lightest of matting to the inside collar (supersize label photo to see). A teeny bit of wear here and there along the edges of the cuffs. Really beautiful condition. Note that these fit high and tight across the shoulders so even though the cut is generous through the body I have added the size of the interior arm hole - its top will sit at the top of the shoulder almost. If that works it will fit a variety of sizes

Sleeves: 25"
Inset shoulders: exterior 13"
Interior arms holes: 14" around
Bust: to 20" flat across from side seam to side seam
Waist-hips: open
Length: 40" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# C467

Reference Photos: Jean Shrimpton and Barbara Miller (both in Biba) by Duffy, The Daily Telegraph Magazine, September 1973.

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

This dress is that exact bright pop of color you need when you want to make an entrance. The dress is a flattering one shoulder silhouette and feels amazing when on the body. The fabric under the sequins is a light silk and it is all cut on the bias so the dress molds to skim and highlight your curves without having to hug them in a tight or confined way. This also makes it extremely comfortable to wear once it is on. The one side curves up and around the shoulder hooking with a trio of hooks & eye and then it curves gracefully across the back. The dress falls from there to the floor with a high slit running up one side. The sequins are set flat on the fabric in long vertical rows so that it gives you the illusion of extra length. The sequins themselves are in iridescent pink and catch the light fabulously. Worked in to this is a triangle pattern that runs down the length of both the front and back of the dress. The hem and neckline are edged in a band of silver tube beads. Each triangle that you see is edged in a double row of those same silver tube beads and the interior of each triangle has a pinky-coral glitter fused directly onto the silk, The glitter parts have a little multi-color glitter worked through the coral and this creates a touch of a holographic color feel. These also catch the light wonderfully and add an entirely new dimension to the dress. I love it. Excellent condition

Fully lined in a bright pink silk. It closes with a metal and nylon side zipper. It is tagged a vintage 8. It looks to have been worn very little if at all.

Bust: to 17" flat across from side seam to side seam
Waist: to 16" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 57.5" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3401

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