This is one of the most iconic of Halston's designs and instantly recognizable as his work. Halston used this flat applied sequin technique predominantly between about 1977 to 1982. Instead of layering and overlapping the sequins, they were laid out flat in rows, side by side, to create a pattern over the silk base. It creates a beautiful visual effect. This is a stunning example of his work from this time period and was made even more famous when Rachel Zoe wore her longer version while pregnant for her Hollywood Reporter cover.

This dress is phenomenal and a rare find. The base is a nude silk chiffon that is cut on the bias and has a touch of transparency to it. That silk is then covered with thousands of tightly spaced iridescent sequins with a slight gold tinge to them mixed with glossy black sequins. Halston imported these sequin fabrics from India and during this time period India is where some of the best sequin work in the world was being done. The mix of the two colours create that fabulous tiger effect and the thousands of sequins  allows the dress to catch the light from every single angle. It is stunning to see. Besides creating that tiger effect, the sequin design also effectively highlights the curves of the body and visually create more curves. To wear the dress you slip it on and zip it at the back. The dress then simply falls into place over the body in his signature simple sheath silhouette skimming over you from bust to hip. It falls to just past the knee depending on your height. The sleeves are long and and straight cut. The have a slightly more gold feel then the rest of the dress and I love this tiny subtle contrast. The edges of the hem, cuffs and collar are edged with a band of back sequins for a near and simple finishing detail. It is very simple yet genius at the same time. You end up entirely covered and yet with the lightness of the fabric, it's slight transparency and bias cut movement of the fabric, is still very sensual and sexy. This is a balance that Halston excelled at. The dress is feather light and feels like a dream on. It is stunning and a wonderful and rare example of his work. It looks to have been worn very little if at all. Excellent condition with a couple of minor notes below

Unlined and closes at the back with a metal and nylon zipper. Hand finished. Very minor sequin loss near the seam of the shoulders, which you don't see when on, and a teeny area on the back hip. Maybe the occasional sequin missing elsewhere but this is all very minor. A reinforced spot along the shoulder with invisible mending tape. A very rare dress.

Sleeves: 23"
Shoulders: 15"
Bust: to 18" flat across from side seam to side seam
Waist: to 16" flat across from side seam to side seam
Hips: to 18.5" flat across from side seam to side seam
Length: 46.5" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4000

Reference Photo: Rachel Zoe for The Hollywood Reporter March 2011

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 especially interesting dress from Alexandra McQueen. It is from the Spring 2010 collection and it is a one of the original variations of a dress whose silhouette they still make to this day. Julianne Hough just wore a black version of one of those newer ones from my archives. The one that she wore was from a later collection released under the creative direction of Sarah Burton but based on this dress and others similar that McQueen designed. If you missed that you can see it on my Instagram here. This dress I have today is one of the originals that McQueen himself designed. This was a production piece that did not make it to the runway presentation but you can see similarities in the prints from that season. It’s a spectacular example of his work and it is still brand new with its original tags. It is like finding a time capsule piece.

The dress is made from a floral printed silk crepe that has an explosion of flowers in pale pastel colours covering the entire dress. It is strapless with a built-in inner cupped bodice that gives you support and holds the dress in place. The cups are shaped and these cups are one of the things that you see that is different from the later versions of this dress. In this version the cups are shaped almost like a 1950s bullet bra. The seams in the inner cups are exaggerated and this gives them this beautiful curving angle shape at the sides and peak at the front. The silk is all bias cut. The dress glides over the inner structure and falls in column to the skirt. The waist is just a suggestion created by the seaming and it skims over the hips. At the hem you see one of the biggest differences between this dress and later versions. He has gathered the hem up and underneath so that it is sewn to the inner lining. This gives it a slight bubble effect. It is also slightly twisted so that it narrows in around you at the hem. However, the fullness of the skirt is still there so that you are able to walk with ease. It is quite genius. It also creates this incredible movement when you walk and has the added bonus of always immediately going back to that long lean line. The print that covers the dress is spectacular. It is a beautiful and romantic floral print done in dreamy shades of blue-greys, pale purples, pinks and blue. It has its original tags attached and was never worn. It also comes with a detachable pair of matching straps if you don't wish to go fully strapless. Excellent condition

Fully lined in an ivory silk and has a built in cupped corset. The inner corset closes with its own zipper and the dress zips to close over that with a hidden set zipper. Tagged a McQueen 42. It has its original hang tag still attached. The inner corset has some stretch. You could have the inner corset adjusted if you needed more or less room.

Bust: to 17" flat across from side seam to side seam with a B-C cup
Inner corset waist: 13-16" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Length: 60" from top of bodice to hem

Modern Sizing Equivalent: SML-MED

Item#

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 fall 2004 John Galliano dress is one of the most beautiful dresses I have ever seen. And yes - it is the dress that was worn by Claudia Sulewski earlier this year to attend her SXSW film premier. I’ve included photos of her here from my various Instagram posts from that evening and you can see and read more on my instagram. This dress was a production piece made for retail and is infinitely more wearable then the pieces shown on the runway that season. It is spectacular. It is a stunning example of his work.

No matter how good you think that this dress looks like in photos and on Claudia, it is even better in person and moving. The silver metallic thread that creates the pattern in the silk has a glow and glint in the light that is not quite caught on camera. The video that I have included here gives you a much better idea of the dress once on. The dress is made out of a fine silk chiffon that has a slight texture to it. The colour is a soft pale baby blue and the silk chiffon ruffles are a paler shade of the same blue. Silver lame thread is woven through the silk to create stunning medallions that run over the entire dress. The dress is cut on the bias so it just glides over the body. It is in its original supermodel length and has not been altered. It is cut to skim over the bust with a V neck plunge on both the back and the front. The dress is so well made that you can actually wear either side the front and it works. The dress skims over the waist and hips and is cut so that the boas cut of the silk follow your curves and highlights the body underneath without it being too tight and fitted. Galliano was a genius when it came to this cut. Once past the hips the dress flares out as it nears the bottom and is incredibly long. That bias cut is further highlighted by the curving angled seams edged in a pale blue silk chiffon ruffle. These glide and curve around you and add the illusion of even more height. The transparency of the chiffon used for those ruffle gives the dress another layer of texture and dimension. The final perfect detail is a row of his signature tightly spaced silk covered buttons and loops that run down one side. It is just spectacular. This would make an amazing wedding piece for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration and of course it would work for any red carpet event or gala. Other then being worn for a couple of hours on the red carper I don't think it was ever worn. Excellent condition 

Fully lined in a matching silk chiffon. It closes down the side with a row of silk covered buttons and loops. Tagged a size US8, FR42, GB14 but the boas cut should allow it to work on a variety of sizes. The measurements given below are the comfortable range when the dress is laying flat. It is in its original uncut length. Being bias cut the length will come up a bit at the back. The dress should work on a large range of sizes given the bias cut. On smaller frames it will drape more and be more fitted on larger frames.

Bust: 16-20" flat across from side seam to side seam
Waist: 13-16" flat across from side seam to side seam
Inner hips: 18-21" flat across from side seam to side seam
Length: 69" from top of shoulder to hem

Modern Sizing Equivalent: XS-MED

Item# DD3999

Reference Photos/Video: Claudia Sulewski at the SXSW Premiere of "I Love My Dad", 2022 from Instagram. She was styled by Jared Ellner that evening

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

When dating this great little Couture Yves Saint Laurent we noticed that the fabric is a variation of pieces for the Fall 1994 show and that also fits the style and feel of the dress. I also dived into my folio collection book and there were pieces in that collection that used this same fabric as evidenced by the swatch. I have included these reference photos for you hear so that you can share that bit of detective work with me. The dress is gorgeous and in person the fabric seems to have an inner glow. It really is a beautiful piece and owning a piece of his couture work is really one of the ultimate vintage acquisitions.

The dress is amazing and a classic Yves Saint Laurent cut and silhouette. It is made entirely by hand and the silk is of the highest possible grade. It feels stupendous on. The top is cut to skim over you and blouse over the waist. The shoulder have light padding just at their outer edges to slightly extend them outward. The shoulders are set into the bodice with gathers so that they slightly pouf above the shoulder line. The sleeves are full and voluminous above their ruffled cuffs. It does up along the neckline to one side and buttons to close. The buttons are hidden under a flap of silk and the fabric is matched on the side it buttons to. The neckline is high and there is a long attached scarf that wraps around your neck. It is set so that one side is longer then the other so that when you tie it is sits properly. Each end of the scarf ends with a two color silk fringe that I love. The waist is finished with elastic so it is incredibly easy to wear. You can add a belt over it if you wanted a really cinched in look. The skirt falls under that in a simple pencil to just about the knee or above depending on your height. There ore hidden set pockets along each hip. The colour of the silk is the best thing about the dress. It is a mix of a bright pink fuchsia and a deep purple with the pink acting as a design that runs over the entire dress. It is truly a brilliant dress and when you see it in person you will fall in love with how good it is in person. And it is just so good on the body. A masterpiece. Excellent condition with a note below.

Unlined with hand finished inner seams. It slips over the head to wear with elastic at the waist and hidden set buttons at the neck as described and shown. Each cuff buttons to close. Completely made by hand. Proper Haute Couture numbered label present. Once of the buttons on the cuff has chipped and I see one small repair under the arm near the seam. Please see the two photos after the label shot.

Sleeves: 25" but will pouf up
Slightly inset shoulders: 13"
Bust: to 19" flat across from side seam to side seam
Waist: 12.5-18" flat across from side seam to side seam
Hips: to 20.5" flat across from side seam to side seam
Bodice: 16" from top of bodice to waist but mean to blouse a bit
Skirt: 20.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3996

Reference Photos: (1-2) Fall 1994 Yves Saint Laurent Couture Runway. / (3) From the book YVES SAINT LAURENT. Haute Couture. L'OEUVRE INTÉGRAL 1962-2002.

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 set that dates to the time period when Marc Bohan was head of the Christian Dior atelier. It is a beautiful and early example of the work being produced by Christian Dior in this time period. This is from the Christian Dior-London label and it was considered to be demi-couture from this time period of Dior's history. Pieces with this label where made for the London based Dior shops and the designs were based on the Paris collections. They were produced with many of the same high standard finishes that the Haute Couture pieces incorporated. The line was overseen by John Langberg who was the Artistic Director of Christian Dior London. Langberg would tweak the Paris looks of the house to meet the needs of Dior's London clients. All under the eye and approval of Mr. Bohan. It is exceptional and an excellent investment piece as well. Dior prices continue to skyrocket and finding early and stunning examples like and in this condition is getting harder and harder to do. 

This suit is exceptional. It is actually two pieces. A skirt that has an attached upper body lining and then a top that zippers into place over that. The inner part of the dress has the skirt attached and suspended from a sleeveless inner top made out of an early silky rayon lining. This is a technique that you no longer see done because of the extra fabric it uses and the longer zipper requirements, both of which add to production cost and time. But this was the proper way to have a skirt hang perfectly during this time period and be the most comfortable for the wearer. The top just skims over you and then the skirt is cut in a sleek little flare that skims over the hips and flares out with hidden flat inverted pleats at each side for volume. The actual width around the bottom hem stops just short of a full circle skirt. This is all achieved by the cut because there is no pleat work done around the waist. This would have taken a tremendous amount of fabric to achieve and wouldn't be done in modern production. Around the waist the silk lies flat and neat. It is very flattering once on the body. When you stand still the skirt lays flat and smooth but when you move you get an incredible burst of movement and volume. Over that goes the little top that closes at the back with a zipper. It is cut to perfectly fall just over where the skirt underneath begins. It is cut with the slightest of curving in at the waist. It is beautifully constructed and it is cut to fit and flatter the body. The shoulders are soft and the sleeves are capped and simple. The neckline is set in a wide cut scoop. A large bow has been set off to one side at the back and partially snaps over the zipper. At the front it is gathered in slightly towards the middle and there is a little strip of fabric at the center for detailing. The fabric is a very high end silk twill dyed to a beautiful bright fuchsia pink. A white design is woven through the silk and it is stunning to see in person. It is chic and elegant yet still feels glamorous because of that stunning colour and fabric. Excellent condition with a note below

Both pieces are fully lined in an ivory silky rayon. The top zips to close at the back and the skirt with its attached lining also zippers to close. A bow snaps into place over the zipper of the top. There is some minor shattering of the inner lining of the top under the arms but they are clean and fresh otherwise and the lining is very stable. Please see the final shot after the label 

Top
Slightly dropped shoulders: 16"
Bust: 19.5" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Length: 17" from neck to hem

Inner Dress/skirt
Bust: 18.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 15" from shoulder to waist
Skirt: 25" from waist to hem with 4" turned under the hem

Modern Sizing Equivalent: SML-MED

Item# DD3847

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 absolutely love the cut of this dress. It is made out of a beautiful pink chiffon that is that perfect shade that is on the runways this season, especially at Valentino. The chiffon gives it just enough structure to hold the shape but where it is a single layer like the sleeves - it can billow out and be soft and airy in feel. That fabric choice mixed with the spectacular colour and soft billowing cut is just stunning. The bodice is heavily draped on an angle on both the front and back. Both sides plunge to a V with the back V dipping right to the band at the back. The gathers are set to angle in towards the waist and cross over themselves to make an X design. This adds to the shape and becomes a design detail on its own. It skims over the bust and is shaped a bit through the waist and then the sides drape down and over the top of the hips. The skirt falls from under the gathers and is very light and full. It flows to just past the knee depending on your height and falls in a cascade that has yards of fabric in it. When you stand still it widens out slightly as you near the hem and when you move it wafts around you as the air picks up the chiffon. The sleeves are unlined and are cut to be extremely full and wide so that they billow out above each cuff. The dress has a fantastic romantic, pretty and light feel, but is still sexy and beautiful. Excellent condition.

The bodice and skirt are fully lined in a deeper fuchsia pink silk rayon and the sleeves are unlined. It closes with a low set back painted metal zipper. Each cuff has hidden snaps to close.

Sleeves: 24"
Shoulders: approx 15"
Bust: 17-19" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips at inner lining: open
Length: 48" from shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3995

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 incredible. I sold the twin of this last year and had this one still in my archives. I have seen one or two of these over the years and they have had the Valentina Inc label. This one has no label but it is clearly a well made piece and the same dress as ones I have seen previously. Plus it is just amazing regardless of its provenance and is definitely a dress that stands on its own merit. It is one of my favorite vintage dresses hands down. You just don't find things like this anymore

The base fabric is a black felted wool and this gives it a soft, artisanal feel. This has then been printed in a bright rainbow of colors that run down the dress in rows of various states of circles, from full ones to just a sliver of a curve. Each of these are then detailed with pink, blue or green sequins that are set in little clusters at the center of each little dollop of color. Around the waist is an elaborately sequin and beaded 'belt' that is not separate from the dress but rather is a part of the dress and has been detailed onto the fabric. The neckline curves up from the shoulder and the sleeves are long. Each sleeve is detailed with a row of 6 hand beaded circular pattern buttons that run down the cuffs. This same pink beaded button detailing is used all the way along the front vent of the skirt to keep it closed. The waist is defined by the detailing that you see but is actually cut fairly easy with just a suggestion of shape. The skirt falls from below that elaborate sequin belt and gently widens out a touch as it nears the floor. It is incredible and a personal favorite. It is truly a very special dress. You just don't see this level of elaborate work on pieces anymore. Excellent condition

Fully lined in a black silk and closes with a back set painted metal zipper. All of the buttons are decorative only.

Sleeves: 22"
Shoulders: 15"
Bust: to 17" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Bodice: 15.5" from top of bodice to waist
Skirt: 41.5" from waist to hem and including the two inch detailing around the waist. There is 3.25" turned up under the hem

Modern Sizing Equivalent: SML-MED

Item# E684

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

Hanae was the first woman of Japanese descent to have presented on the Paris and New York runways and the first Asian woman to be admitted as an official Haute Couture house to La Chambre Syndicale de la Couture Parisienne. Her work is exceptional. Hanae Mori excelled at these beautiful floral prints and when I find pieces with one of her florals and butterflies I am very happy. I feel that pieces like this are among the very best representations of her work.

I love whenever I get a fabulous Hanae dress into the shop. I especially love her jersey pieces when I find them. They are so chic. They are also very easy to wear and travel with. This one is a real beauty. It is made out of one of her signature floral prints with butterflies mixed in. That is screened over a wash and wear jersey fabric. This jersey fabric choice give the dress its perfect drape and fit. Each of her flower prints were custom designed and this one is one of the best I have had with its gorgeous pops of green. The colour palette is a beautiful mix of green and white on the black and then the flowers and butterflies give it pops of pink and blue. The print runs over the entire dress and is very pretty. At the front the bodice plunges and crosses over itself for a bit of skin to show. Each amazing sleeve is cut to pouf and balloon out over the cuff with extra fullness over the wrists. It skims over the waist with a an easy cut and then the skirt falls to the floor, gently flaring out as it nears the hem. It is cut super model long and it is a beauty. Excellent condition.

Unlined and closes with a back metal and nylon zipper. Each sleeve snaps to close on the cuff. Tagged a vintage 10 and the fabric has stretch. The measurements below are the comfortable range laying flat

Sleeves: 26"
Slightly dropped shoulders: 16"
Bust: 17-21" flat across from side seam to side seam
Waist: 14.5-17" flat across from side seam to side seam
Hips: to 24" flat across from side seam to side seam
Length: 62" from neck to hem with another two inches turned up at the hem

Modern Sizing Equivalent: SML-LRG

Item# DD3992

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

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

This is a killer dress. It is one that will come to life even more once it is on an actual body and I hope the photos convey just how fabulous it is. Because in person it will be even better. The dress is made from a incredible black knit that has a pattern knitted into it. The design runs in rows over the body of the dress in soft edged zig zags stacked on top of each other in rows. One row is made from an outline of a metallic gold thread that has a metallic green inside that edges and then the other rows are a silver thread with a metallic blue inside. These are set back and forth and stacked from the shoulder to hem. The metallic of the thread picks up the light in a subtle kind of way so that it glints from every angle. The dress has a bias cut feel but is lined so actually has more structured to it then it looks at first glance.  This allows it to skim over your body and highlight your curves without being super fitted and tight. The neckline is high with a flipped over collar and the sleeves are long. The dress skims over your bust and just slightly comes in at the waist and then glides over the hips. The skirt under that is supermodel long and widens out as it nears the floor. This allows it to move when you walk and the length there creates this beautiful long line. It brings all the emphasis to the curves of your body above. If there was ever a dress that needed a body inside of it to bring it to life, this is it. It is stupendous once on. Excellent condition

Fully lined in a brown silky rayon that is on the bias and it closes with a back set zipper. At some point the hem was dropped. I chose to leave it so it will work on someone very tall and if you are not it is an easy thing to have done so its your exact length. I can tack it up if you ask. The dress will stretch and the measurements below are the comfortable range laying flat. If you needed more room you could expand or change the lining as the outer dress has a ton of stretch

Sleeves: 23"
Shoulders: 15"
Bust: 15-19" flat across from side seam to side seam
Waist: 13-18" flat across from side seam to side seam
Hips: 18-20.5" flat across from side seam to side seam
Length: 63" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD3991

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 instantly recognizable dress from Prada. Erin O'Connor wore its twin as she walked the runway that season for Look 39 of the fall 2002 Prada show Style.com's review of this show in part said said: In a show that was densely layered with references to the history of fashion, Prada cut a strong, curvaceous and erotically charged line to give grown-ups a whole new reason to buy. ... Revisiting structured tailoring—which is where she began in the '90s—was only one of her ideas.  Prada referenced many of her own past collections, from her bourgeois ladylike phase to her militaristic moments and her love of vintage lingerie. But her achievement was in making something inspiringly new out of confronting a personal taboo. "I was fed up with people saying I can't do sexy clothes!" she stated backstage. It was said with a laugh, but the designer has done nothing less than change the fashion agenda overnight.' Anne Hathaway wore one that season and it is important enough that it is held in the permanent collection of Boston Museum of Fine Arts. I own the twin of this dress myself and its a fantastic dress

The dress is made from a super fine, super soft silk that is woven to feel like a high end thin t-shirt. This fabric choice makes the dress incredibly easy to wear. Choices like this are part of Miuccia's genius. The fabric has been vertically knife pleated and then that is gathered up and along an elastic neckline. The elastic allows you to slip the dress over your head but then draws the neck up and inwards once on the body so the the slits that are left open on each side for the arms are set on a flattering angle. The dress falls from there with minimal seaming. The shape that you see once it is on the body is made by the leather straps that are attached to the fabric. The one under the bust is fully attached and set on a curve that glides under the breasts. The ones at the waist and hips open on one side and are adjustable with metal loops that you can loose or tighten around you. This allows you to control where the leather sits on your body and how much shape you want to add to the dress. Under that the skirt falls with a slightly asymmetrical hem and is longer at the sides. When you move the movement it has is incredible. This is iconic Prada and an amazing piece of fashion history. Excellent condition

Unlined and slips over the head with a hidden set zipper at the side. The leather straps close as described above. It appears to have been worn little if at all. Tagged a Prada 44

Bust: 16-19" flat across from side seam to side seam
Strap under the bust: to 17" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: to 19.5" flat across from side seam to side seam
Length: 59" from top of shoulder to longest point of hem

Modern Sizing Equivalent: SML-MED

Item# DD3994

Reference Photos/Video: (1-4) Fall 2002 Prada Runway Collection. Look 39. Model: Erin O'Connor.  /  (5) Anne Hathaway in Prada at a special screening of "Chicago" to benefit GLAAD and Broadway Cares at the Ziegfeld Theater, New York City. December 18, 2002.  /  (6) Fall 2002 Prada Dress from the Museum of Fine Arts Boston 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.

This Yves Saint Laurent dress is remarkable. The designs for pieces like this often built on previous Haute Couture collections and you can see the influence and progression from his earlier Russian collection in its lines. As time progressed, Yves exaggerated those lines used for the 1977 collection and by 1981 the sleeves were far more dramatic as you see here. Similar dresses from that year were photoed for various editorials and I have included two of those shots here for your reference. It is a stunning dress ad is instantly identifiable as being Yve's work.

The dress is made from a combination of two of his signatures fabrics, an iridescent silk taffeta and a rich silk velvet. The sleeves are very dramatic and the star of the dress. Each is cut in a classic gigot sleeve with this fantastic fullness that starts at the gathers in the shoulder and remains full  billowing out to the elbow. He the switches from the silk to a velvet and this covers the lower arm to the wrist. Four glossy dome buttons run down that cuff to the wrist. The top is cut to skim over the bust with a scooped neckline at the front. It is seamed at the waist and then the velvet extends down over the top of the hips. There is an attached silk taffeta sash that wraps around the waist and cinch you in for added shape. The skirt falls from there and is beautifully full. The photos do not really do the amount of fabric in the skirt full justice. Under the top purple layer of silk is a lining in a coral red silk taffeta. You don't see that inner layer when you are standing, but when you sit or move just right, you get that extra flash of color. It's a small detail that I absolutely love. The choice of the silk taffeta as the primary fabric allows the dress to still be fairly light in weight despite the layers. It also helps to retain its shape and fullness.  It is wonderful. Pieces by Yves from this time period have become an important piece of fashion history. Excellent condition.

Fully lined through the bodice in a black silk satin. The skirt is lined in a deep red silk taffeta and the sleeves are unlined. It closes at the side with a metal and nylon zipper and each cuff buttons to close. The sash is attached at the back. Slight flattening to the velvet here and there along the waist seam that is covered by the belt once on. Tagged a vintage YSL 40.

Sleeves: 29"
Shoulders: 15"
Bust: 17.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 17" from shoulder to waist
Skirt: 43.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD2856

Reference Photo: (1) 1981 Yves Saint Laurent Runway.  /  (2) Model in Yves Saint Laurent, credit unknown.

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

Pauline Trigere launched her label in 1942. She was from Paris and moved to the US in 1937. That early French influence showed throughout her career. In 1949 she was awarded her first Coty award. She won it again in both 1951 and 1959. The 1959 win coincided with being inducted into the Coty Fashion Hall of Fame. She was a pioneer in the use of cottons and wool for evening and her work with silks is wonderful. In 1961 she made headlines for being the first major fashion house to use an African American model. This is a stunning example of her work from the sixties and it is gorgeous.

This Pauline Trigere dress is extremely well made with a very high level of construction techniques. That alone makes it a fabulous piece for me. It is a joy to see dresses made to this fine level of workmanship. The dress is made from a matte black silk satin that has a rich luxurious feel to it. It has just enough weight to hold the intended shape that she wished for the dress The fabric has a slight sheen so catches the light beautifully and showcases those wonderful sculptural lines. The interior is constructed out of a fine black silk and the combination of the two silks makes the dress feel amazing once on. This double layer of silk also helps to give the gown the structure that you see. The neckline is extraordinary and I love the way it falls into that distinctive squared off shape. It skims over the bust and past the waist. It then curves out over over the hops where it starts to widen out tremendously. From there it falls to the floor in graceful curves of the silk. It falls with distinct curves created by clever seaming. As soon as I saw it on the dress form it reminded me of a more subdued version of the iconic Charles James clover dress and that way that skirt falls. All of the seaming is set vertically which makes the entire dress a more complicated task to piece together as the precision required is so much greater. The workmanship is exquisite and to demi-couture standards. Excellent condition.

Fully lined in a fine black silk and closes with a back zipper. Hand finishes throughout. It appears to have been worn very little if at all.

Bust: to 17.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Length: 57" from waist to hem with 3" turned under the hem

Modern Sizing Equivalent: SML-MED

Item# DD3993

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 more recent piece by Maison Margiela designed by John Galliano for the label. It is from the Line 4 division which were pieces not shown on the runway. The label tell us this where is has the number 4 circled. The Line 4 was first introduced in 2004 as 'a wardrobe for women'. It was meant to cover the basics for women and was described as 'a personal approach to dress, fixed on taste rather than on a seasonal approach to design, or a particular age group.' The dress is gorgeous in its simplicity.

The colour is a clear bright red that has just a touch of a coral in it. The neckline is a high set curve and the edges are deliberately left raw and unfinished. The dress falls from there on a straight column widening out slightly as it nears the hem. An angled seam runs across the skirt and this is the only seaming detail on the dress. The sleeves are cut extra long and are meant to be bunched up on the arm to become their own design detail. The edges on these and the hem are also left raw. At the back you see the signature four corner stitches in white where the label is set on the interior. They are set onto garments like this deliberately “The four white stitches only appear on unlined garments. They were devised so as to, realistically and ideally, offer the option to those confronting the garments for the first time to react to their form and energy, and not just the idea of “brand” as expressed via a label.” is how the house has described their purpose and Margiela has also stated that “What most people consider as our logo – the four stitches in the back with the white label inside the garment – had in fact the opposite purpose: it was meant to be cut off so the garment would be without a label and logo!” It is a gorgeous dress in its own right and has that brilliant tailoring and innovation that the label is know for. It appears to have been worn very little if at all. Excellent condition.

Unlined and closes at the back with a hidden set zipper. Tagged a 38. The dress appears to have never been worn or worn very little. The fabric has some stretch.

Sleeves: 27.5"
Shoulders: 15"
Bust: 17.5-19" flat across from side seam to side seam
Waist: 16.5-19" flat across from side seam to side seam
Hips: 18.5-20.5" flat across from side seam to side seam
Length: 58" from shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3988

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 dress is the twin of the dress that walked the fall 1998 Yves Saint Laurent Rive Gauche runway. I was so pleased to find a shot of it on because it really shows you just how much it comes to life when worn. That runway shot is a little extra special as it was captured with Yves in the photo with it during his final bow of the show. It is extraordinary. The dress has never been worn and still has its original hang tag attached. It is a stunning example of his work during this time period. I am in complete love with it

The dress is almost startling in its beauty and impact. It is made from a moire finished velvet in a deep blood red. The pile on this type of velvet lies flatter to the surface and the moire pattern in it is achieved by manipulation of the plush of the velvet in different directions when it is made. This allows it to catch the light much more then a normal velvet and it gives it a depth and texture that I love. The pattern is cleverly set over the dress to come in at an angle towards the center of the dress. This gives the illusion of extra height and curves.The colour is fabulous. Every line of the dress is perfection. It falls from the shaped off shoulders to skim over you and follow the curve of your body. From the waist it falls in one supermodel long sheath to the floor widening out gently as it reaches the hem. There are inset panels around the skirt set in so that the lower skirt flares out and balances out the shape at the top of the dress. When you walk the lower skirts kick out and add movement to the piece. The back is as sleek as the front. The sleeves are long and narrow in to the wrist. It has such impact to see it on person and the way the velvet catch the light from every angle. It is spectacular and a wonderful example of Yve's work during this time period. It was never worn and still has its original hang tag. Excellent condition

Fully lined in fine red silk and closes with a hidden set zipper at the back. Each cuff zippers to close. Tagged a 38. Light padding in each shoulder. Original hang tag attached.

Sleeves: 23.5"
Shoulders: 15.5"
Bust: to 17.5" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 61" from neck to hem with 2" turned under the hem

Modern Sizing Equivalent: SML-MED

Item# DD3990

Reference Photo: Fall 1998 Yves Saint Laurent Runway Presentation.

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

Emanuel Ungaro launched his label in 1965 after working for both Balenciaga and Courreges. He was a brilliant designer who was known for his extravagant fabrics and flamboyant designs. He was very involved n the entire process and designed and oversaw the development of new fabrics to suit his needs. For him the design process always started with the fabric. His work always has a sense of exuberance and drama to it and he mixed fabric and prints with a master's eye. These super short fitted dresses with the strong shoulder and cut outs are instantly recognizable as being his work and this one is particularly amazing 

The colour of this dress is fantastic and no matter how great it looks in the photos you will love it even more in person. It is made out of a deep teal silk that has a black floral print screened over its surface. The fabric has a slight sense of a metallic finish to it so it seems to glow from within and intensifies the teal colour. It is fantastic. The silk is light in weight and despite the elaborate construction of the dress is not at all heavy once it is on. Inside there is light boning through the bodice to give you support. Despite the lightness of the fabric the intended shape is held perfectly in place. The bodice is cut straight across at the front and the back. This is topped by a wide cut neck line and strong shoulders that are padded for shape. This creates this fabulous angled cut out on both sides for a sexy glimpse of skin. The sleeves are long and cut wider near the shoulder and narrow down to the wrist. It is elaborately gathered and fitted around the bust with hand placed and gathered folds. This gathering technique that emphasized the curves of the body were a signature of his and allowed him to really shaped his pieces. On this dress the gathers run from the bust right down and over the hips to the very short hem so that you get curves on curves. It is short, sexy and very Ungaro. It appears to have been worn very little if at all. Excellent condition.

Fully lined in a black silk and closes with a back zipper and a button at the neck. A hidden set zipper at each wrist. The interior of the bodice is boned for support. Padding in each shoulder. Tagged a vintage Ungaro 10. It appears to have never been worn, or worn very little.

Sleeves: 24"
Slightly extended shoulders: 15.5"
Bust: 17" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 30" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3986

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 was from Paris and moved to the US in 1937. That early French influence showed throughout her career. In 1949 she was awarded her first Coty award. She won it again in both 1951 and 1959. The 1959 win coincided with being inducted into the Coty Fashion Hall of Fame. She was a pioneer in the use of cottons and wool for evening and her work with silk chiffon is wonderful. In 1961 she made headlines for being the first major fashion house to use an African American model. This is a stunning example of her later work and it is gorgeous.

The dress is made from a black ribbon silk that has a red and taupe print running over parts of it. A gold metallic thread runs through the silk and follows the edges of the little rectangles that are woven into the fabric. These catch the light from every angle that you look at the dress from. The dress has an inner, more fitted dress, and then a panel of silk falls over that all around you. The dress is suspended from the shoulders from two tiny silk straps in the same fabric. The chiffon has a touch of transparency and she plays on this by backing the inner dress with a nude lining to give the illusion that under the caped part you are just wear a single layer of silk. The outer layer is attached around the neckline and meets at the front where it is slit up the center to allow movement. When the dress is on the outer layer of silk billows and moves around you when you move The dress comes with a matching extra long wide silk sash. I have showed a couple of ways it could be worn in these photos, around the inner waist and peaking out the front; around both layers; around the neck and as a shawl/cape. It is long enough that you could also wear it as a headpiece or turban. As pretty as it is on the dress form it really needs an actual body to fully come to life. It is gorgeous. 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.

This dress only has its Gump's department store label but I am pretty certain it is an Oscar de Renta based on pieces I have had in the past. Gump's was based out of San Francisco and they did carry Oscar's work. The dress is priced based on how fabulous the dress is on its own right. It is rare to find such a stunning vintage velvet piece that still feels infinitely wearable and modern.

The dress is almost a caftan feeling piece that you can wear loose and easy or cinch it with a ribbon or belt. The fabric on this one is what takes center stage and it is absolutely beautiful. It is a fused silk velvet on a feather light weight black chiffon. Each little velvet bit of the pattern is edged with a gold eyelash metallic lame that has been pulled through the velvet to create an edge on each individual piece of the pattern. This catches the light from every angle and gives the dress this fantastic bit of a metallic feel. The velvet is this amazing gold toned coral colour that changes shades slightly as it runs over the dress. The pattern is laid out vertically in long curves with just a bit of the black chiffon showing through. It is unlined so you get a glimpse of skin showing through the chiffon parts. It is very light and fluid. To look at it you might think it is heavier but the weight is very light so it moves over you like a dream. The cut is very loose and easy and should fit a range of sizes. It is a simple open shape with a full and wide cut through the body. The fabric is bias cut so there is a lot more room in there then it seems at first glance. The neckline is scooped on both sides with a keyhole and button at the back. Each sleeve ends with elastic and that they are very full above that. It is supermodel long and you can change the shape by adding a ribbon like I did for these shots, or add a more structured belt, or wear it loose and easy so its more like a caftan. It is a great piece that is easy to wear and has lots of impact. It still has its Gump's hang tag and was never worn. Excellent condition

Unlined and slips on to wear with a button & loop at the back of the neck above a small keyhole. The fabric is light and easy to wear. Never worn. The loose cut should work on a range of sizes. I think if you are very tiny you could wear it off the shoulders too. The ribbon is not original to the dress but will be included. It is more a coral in person then the red some shots went to.

Sleeves: 23"
Shoulders: no defined seam
Bust: 18-23" flat across from side seam to side seam
Waist: to 23" flat across from side seam to side seam
Hips: to 25" flat across from side seam to side seam
Length: 61" from neck to hem

Modern Sizing Equivalent: XS-LRG

Item# DD3984

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

Madeleine de Rauch founded her self-named couturier house in 1932. In the beginning she was known as a 'sportswear' couturier which in the context of that time meant that she focused more on day wear. As time progressed she turned to evening wear and became equally as known for her gowns. In the mid-1950’s, realizing the importance and the inevitable coming of mass production, she and eight other fashion designers established the Ready-to-Wear Association. She was also a supporter of young talent and helped a very young Yves Saint Laurent find his workshop space from which he launched his first collection. She designed until 1974. This is a stunning dress from the early 1960s and the workmanship on it is incredible.

This is one of those dresses that the closer you get to it the more you realize just how special it is. My photos are not coming close to doing it justice. This dress is is a spectacular example of the high end hand work that was being done during this time period in the world of Haute Couture. It is harder and harder to find these original pieces that are entirely sequinned and appliqued and with such a heavy covering, never mind that it is also a true Haute Couture piece. The instant you lift this dress up you know it is an early and well made original because it literally weights about 5 pounds. This is entirely due to the dense and heavy coverage of the rhinestones, pearls and sequins that cover every inch of the dress. The cut is simple but dramatic due to the stark white and silver of the appliques. It is cut to skim over your curves and falls in an elegant sheath to the floor. This creates a long lean silhouette that suggests the body underneath and gives the illusion of height. The neckline is a simple scoop at the front and the back is another scoop. The hips are cut with a slight curve to follow the curve of the body and the skirt falls to the floor from there widening out as it nears the hem. The hem has a wide internal band of stiffening that allows it to hold the sculptural shape. The entire dress is densely covered with hand placed white sequins, pearls and prong set rhinestones. These are so heavily applied that they cover the entire surface. Underneath that is a white lace netting that has bits of a silver lame thread woven through the fabric for added glitz. The effect that this create when you move is wonderful. I love that no matter what angle you look at it from it catches the light beautifully. The time and hours put into making this dress with all that hand work is astounding. The entire dress is made by hand and it is amazing. It is a beautiful and glamorous dress that is red carpet worthy and would make an amazing wedding dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. And of course it could also be worn to any big event. Excellent condition

Fully lined in a hand set ivory silk with hand finished seams. It closes with two back metal zippers. One for the interior lining and one for the outer dress. There is an attached weight at the top of the zipper that flips over the edge so that it doesn't dig into your skin. All the sequins, pearls and beads are hand sewn into place. It weighs several pounds. There are some minor grubbiness to the inside lining near the hem but of course this is not seen when on.

Bust: 19" flat across from side seam to side seam
Waist: 17" 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

Modern Sizing Equivalent: MED-LRG

Item# DD3983

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 piece is from the Valentino Intimo line which was their high end lingerie line. This is a lovely example of the work that was being done for this label. It would have been meant to be more of a hostess piece that you would wear while entertaining at home. Now a piece like this could be worn anywhere. The fabric is insane. It is a fixed voided velvet on a black chiffon which is then backed by a nude lingerie netting. Each little velvet bit of the pattern is edged with a bit of a black eyelash metallic lame that has been pulled through the velvet base to create an edge on each individual piece. This catches the light from every angle and gives the dress this fantastic bit of a flat metallic feel. The cut is extremely loose and easy. It is a simple open shape with wide sleeves and full and wide cut through the body. The neckline is a simple V edged in a black satin piping. Each sleeve ends in a wide band of black feathers that are the perfect little pop of drama. The feathers are very full and extravagant. I love the length and the side slits because you can wear it as a dress or layer it over soft loose pants for a more pajama evening set feel. You could easily belt this to add shape if you wished. It is a great piece that is easy to wear and has lots of impact. Has pockets on each hip. It appears to have been worn very little if at all. Excellent condition

Fully lined in a nude lingerie netting and slips on to wear. The fabric is light and easy to wear. Tagged a Large. The loose cut should work on a range of sizes

Sleeves: to 27" long including the feathers and from the dropped shoulder and 19" around the upper arm
Dropped shoulders: 21"
Bust: to 25" flat across from side seam to side seam
Waist: to 26" flat across from side seam to side seam
Hips: to 27" flat across from side seam to side seam
Length: 56" from neck to hem
Side slits: 14" from hem up

Modern Sizing Equivalent: SML-LRG

Item# DD3979

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 incredibly set by Bob Mackie for a collaboration he did with the Blanche lingerie brand during the late seventies - early eighties time period. It still has all of its original tags attached and is in perfect condition. Rarely do I bring in lingerie pieces but this one was so fabulous that I could not resist it. It is also a bit of a rarity in the history of the brand which makes it that much more special.

The inner gown is made of a slinky lurex that has little gold dots printed over the fabric. The neckline is dipped very low at the front and the neckline is edge with a transparent netting. The netting is then detailed with a pattern done in a gold metallic thread. The back dips into another low V and the netting follows the edges of that as well, curving over the shoulders and down the back. Starting over the arms and around to the back is a black semi-transparent chiffon that is connected to the lower edge of the netted panel. This draped over your arms to make a caped sleeve and glides down the back for a stunning caped effect. Over this is a full and loose caftan feeling robe that is made of that same black chiffon as the caped detail on the inner piece. This outer piece is absolutely fantastic. The cuffs and the neckline have a dramatic feather finish. Each sleeve is cut wide and straight and there is more of that gold embroidered thread design on them. They both end in a huge feather cuff that drapes down on an angle making it feel even more full and wide then it is. Around the neck and running down the front to the waist is another long panel of feathers. It has that perfect Old Hollywood movie star feel. It is over the top, glamours and extravagant. Even though these were meant to be lingerie pieces, in our modern world you could wear either piece out as evening pieces. The robe in particular would make an amazing evening jacket. The set is new with all its original tags attached. Excellent condition.

Both pieces slip on to wear. The robe has ties at the front. Tagged a P (small) and the set has all its original tags. It's generous cut should allow it to fit a range of sizes. The set has never been worn

Dress
Shoulders: no defined seam
Bust: to 18" flat across from side seam to side seam
Waist: to 17" flat across from side seam to side seam
Hips: open
Length: 56" from neck to hem

Robe
Sleeves: 32" to end of feathers
Shoulders: 16"
Bust: to 27" flat across from side seam to side seam
Waist-hips: open
Length: 58" from neck to hem

Modern Sizing Equivalent: SML-MED and the robe will fit to a LRG

Item# DD3531

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

Karl's first collection for Chanel was in 1983 which makes this piece from one of his early collections. I was happy to be able to find a reference photo of the twin of the dress from the runway that season. Three pieces were shown in this gold metallic fabric and this was the third that walked the runway. In the photo of the models it is the one on the far right towards the back. We also found runway footage so you can see how it moves. The hand written tag on the dress is also dated to 1986 and there is also a special order tag from Bergdorf's with the exact date of September 1, 1986 along with the client's name who ordered it. I feel like that makes it that much more special. It is a wonderful example of the work that Karl was doing for Chanel during this time period.

The dress is made from a of a metallic gold thread embroidered onto a black silk net and then backed by a black silk chiffon. The gold thread absolutely glows off of the black silks and it is wonderful to see in person. It also gives it a gorgeous texture with the thread slightly raised off the netting. Really exceptional fabric. The cut of the dress is gorgeous and its simple lines are done to allow the gold to take center stage. The neckline is cut straight across and is set wide so you get a glimpse of skin across the top of the shoulder. The edges of it follow the lace pattern for a pretty scalloped effect. Inside the bodice is a tank that adds extra coverage across the chest but leaves the upper shoulders and arms covered in just a single layer of the chiffon and gold for a touch of transparency. The sleeves have this same touch of transparency to them. The bodice skims over the bust and waist. The lace is finished just below the waist with that same scalloped edge and then the skirt falls from under that. It gives the illusion that you are wearing a top and skirt but without an added bulk that you would have if it was two pieces. The front of the skirt curves up to a slightly shorter length and then it curves down at the back skirt to a true full length skirt by the time it reaches the longest point of the back hem. It is gorgeous. Excellent condition

Full lined in a fine black silk chiffon with an inner chiffon bodice suspended by tiny straps and in inner silk skirt. Hand finishes. The inner bodice has its own zipper to close it and then the outer layer closes with a series of buttons and loops down the back. Buttons and loop at each cuff. Cut slightly on the bias so may come up a touch in length when on depending on your frame

Sleeves: approx 23"
Shoulders: no true defined seam
Inner bust: to 18" flat across from side seam to side seam
Inner waist: to 14.5" flat across from side seam to side seam
Inner hips: 19" flat across from side seam to side seam
Length: 49" from top of shoulder to front hem, 60" to back hem

Modern Sizing Equivalent: SML-MED

Item# DD3345

Reference Photo/Video: Fall 1986 Chanel Runway Collection.

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

Geoffrey Beene was one of the great American fashion designers and he was recognized for both his artistic and technical skills. He launched his label in 1963 and a piece from his very first collection landed on the cover of Vogue. A Coty award followed a year later. In 1984 the Council of Fashion Designers created the annual Geoffrey Beene Lifetime Achievement award in honor of Beene's fashion legacy. When researching this dress we found an editorial shot from Vogue that year of one of his dresses in the same fabric which verified the date of this piece. It is absolutely gorgeous.

I love Geoffrey Beene's work and this one is a beauty. It is made from an ultra soft leopard printed chenille velvet that is one of the softest things I have ever felt. It is very fine and very light in weight. It has this wonderful soft deep plush to it and is incredibly luxurious feeling. He then used a black silk netting to contrast that for the shoulders and sleeves. The netting is transparent and is detailed with a gold metallic thread and fused dots of a flat piled black velvet. The bodice is cut to curve around the bust and it is then cut on a sharp angle towards the neck on both the back and front. The netting is set on both sides of that so you get a glimpse of skin through it and then it curves over the shoulders and down to form the sleeves. From there the fabric skims over the waist and hips and then narrows down slightly to the hem. I have photoed the incredible seaming through the mid part of the dress. I also took a photo of the way the hem is cut from the side. It is just an incredible small detail that I love. A high slit runs up the center so that when you move or sit you get a flash of leg. Just an amazing dress and a fabulous example of his work during this time period. Excellent condition.

The fabric is self backed and the dress unlined. It closes with a hidden set back zipper. Each sleeve has a hidden set snap at the cuff. All of the inner seams are ribbon edged. It appears to have never been worn, or worn very little. Tagged a vintage size 6

Sleeves: approx 25"
Shoulders: no defined seam
Bust: 17" flat across the back from side seam to side seam
Waist: to 14" flat across the back from side seam to side seam
Hips: to 18.5" flat across the back from side seam to side seam
Length: 56" from neck to front hem, 58" to the back hem
Slit: 26" from hem up

Modern Sizing equivalent: SML-MED

Item# DD3484

Reference Photos: Valerie Celis in Geoffrey Beene for Vogue US, 1994. Photo by Ellen Von Unwerth

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

John Galliano went from Givenchy to Dior in October of 1996 and stayed there until he was dismissed in February of 2011. During John Galliano's years at the house of Christian Dior he arguably produced some of the most amazing bias cut dresses in the house's history. His work, especially the bias cut pieces that he did, have a feeling of the decadence and abandonment of the twenties and they are beautifully cut. They marry Old Hollywood with the minimalist spirit of the nineties and early 2000s and the results are stunning. This is an amazing example of his work from the Boutique line and it is gorgeous. I have included a photo of a picture from the main label runway that shows you how that same diamond shaped lace pattern detail was used in the main collection as well. It is always fascinating to see how an idea transfers from the various collections. 

This dress is made from a combination of lace and a fine black silk that is cut completely on the bias. It is very beautiful. The signature bias cut that he often did allows the dress to skim and drape over the body so that is shows every curve but is not overly fitted. The seaming is highly reminiscent of the work you see from the twenties and thirties which became another of John's signatures. The fabric of the dress is a fine black silk that has a dot pattern woven through it. These are pieced together and laid out in a diamond pattern that runs over the entire dress. Set between each diamond of fabric is a wide black lace ribbon. This creates a stunning texture over the entire dress. The dress is suspended from two lace straps and then the bodice is a simple soft layer of the lace and silk. It glides over the body and then flares out as it reaches the hem. The widening of the hem is created by more of the diamonds panels being added around the dress. It is an incredible feat of patterning. Just under the bust is a little silk chiffon peplum that is edged with lace. This flares out around you for added shape. Then at the hem there is a panel of lace that is set under the bottom edge of the skirt. You only see this bit of lace peaking out when you walk, sit or move and it is like this delicious little secret. The back is a low V that leaves a bare expanse of skin to show. It is even better in person and on the body as the black in the photos does not fully convey the detail that you will see in real life and bias cut dress only truly comes to life when worn Depending on your height the dress will fall to the low calf to full length. Excellent condition

Unlined and cut on the bias. It slips on to wear with no closures. The bias cut should allow it to fit a variety of sizes. The length might come up when on depending on the size of the girl underneath since it is cut on the bias. Tagged a US8 FR40 GB12. The measurements given below are the comfortable stretch of the fabric laying flat. You might get a touch more when on an actual body.

Bust: 15-18" flat across from side seam to side seam
Waist: 12.5-16" flat across from side seam to side seam
Hips: 17-20" flat across from side seam to side seam
Length: 55" from shoulder to the hem

Modern Sizing Equivalent: XS-MED

Item# DD3875

Reference Photo: Spring 2005 Christian Dior Runway, Look 44. Model: Nicole Trunfio.

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 the 1980s and 1990s Gianni Versace ruled the catwalks. He was the favourite of the Supermodels and they were featured predominately in his runway shows and his ad campaigns. Versace launched his label in 1978 and in 1989 he presented his first couture collection. The days that Gianni headed the label were heady, glamourous ones and set the tone for the label as we know it today. He remained at the helm of the brand until his death by assassination in 1997. This is from those years in the 1990s when the label was everywhere and everyone wanted to own and wear a Versace. Vogue recently added this show to its runway archives and in the show notes Gianni was quoted as saying; 'To use art in a flat way, without creative intervention, is in bad taste. I mix it up'. This top stitched bodice feature was an important part of that season's collection. The dress was shown in yellow on the runway and was worn by Yasmin Le Bon. There was also a jumpsuit that we found with the same bodice treatment. It is so good.

As good as the dress looks from the front as soon as you see the back you can't help but fall in love. The dress is made out of a linen silk mix and combines a bright tropical coral orange with black. The clever play on colour helps to emphasize the bust with making the waist and hips look slimmer. The bodice is a play on the bullet bra and intricately top stitched to follow the high rounded curve of the neckline. It is darted for shape at each side and then curves down in at the center. Under that is a band of the sane colored fabric that cinched you in just under the bust. The waist is set high in under that and the entire top portion of the fitted skirt is also top stitched so that you get that fantastic corseted lingerie effect. The skirt hugs the hips and then goes to about the knees, depending on your height, to fall in  a fitted pencil silhouette. Then when you turn around the dress gets even better. It buttons all the way down with a row of tightly spaced gold metal buttons. He has kept the closure on the bodice separate so that it is a like a front attached bustier. This leaves an open cut out of skin showing between the back strap and the skirt which is so sexy. The skirt then buttons all the way down from there leaving a bit of a vent below the final button to allow you to walk. It is fantastic. Excellent condition

Backed in a non top stitched version if the same fabric. It closes with the buttons done the back as shown. Tagged a vintage Versace 44

Bust: 17" flat across from side seam to side seam with room for a B-C cup
Seam directly under the bust: 15.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Bodice: 5.5" from top of bodice to seam under the bust, 8" to waist seam
Skirt: 26" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3970

Reference Photos: (1) Yasmin Le Bon for the Spring 1989 Versace Runway.  /  (2) Spring 1989 Versace Runway 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.

This is a cute and easy to wear dress by Thakoon that looks like it was never worn. Thakoon launched his brand in September 2004 and this is a dress from very early on in his career. It is made from a scarf weight silk done in a bright coral orange. It is a very easy to wear piece with its loose and open cut through the body. You just slip it over the head and go. The sleeves are elbow length and finished with piping at the ends. The neckline is cut straight across so you have a little skin showing. It is cut loose and easy over the bust and through the waist. There is a bit of a gather at the front of the waist to add a touch of shape and then the skirt falls over that and widens out a touch as it nears the hem. When it is on the front comes up a touch. It is meant to be worn loose and easy and is super easy to wear. Great for day or evening. Just a fabulous dress when you want to have maximum comfort but still have that impact of colour. Excellent condition

Unlined and slips on to wear with a hidden set zipper at one side. Tagged a US 12. There is one tiny smudge dot of a mark on the back. Please see the final photo. You can barely even see it in the shot but I have included it anyway 

Sleeves: 17"
Slightly dropped shoulders: 15.5"
Bust: 19" flat across from side seam to side seam
Waist: 18" flat across from side seam to side seam
Hips: 23" flat across from side seam to side seam
Length: 33" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3971

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 1952, Givenchy founded his namesake house on Rue Alfred de Vigny in Paris and quickly rose to fame as one of the grand couturiers. 16 years later for the 1968-69 season, he added a ready-to-wear line of clothing and accessories called 'Givenchy Nouvelle Boutique'. The line was initially sold in the United States exclusively through Bergdorf Goodman and was eventually made available at other retailers. The line was high end and extremely well made and it was made to appeal to his non-couture clients who wanted to be able to purchase a piece of the Givenchy dream. This label continued until 1992 when it was retired and rebranded as the Givenchy Couture label which this dress is from. This dress is also interesting as it is the obvious ready to wear version of two of the Haute Couture dresses presented that season. I have included the photos of those two runway shots here as it is always interesting to see the progression and translation of Couture to ready-to-wear.

Modern Sizing Equivalent: SML-MED

Item# DD3973

Reference Photos: Spring 1994 Givenchy Haute Couture Runway 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.

This is a remarkable example of Courreges and the work that Andre was doing during that time period. I know we often associate his work with very mod and short pieces but he also did many dramatic pieces in fabrics like this. It is a highly glossed, thicker weight, smooth finish cotton. At the time this would have been extremely experimental. I love that this one takes the shape that we so closely associate with him and extends and exaggerates it to full length. This dress would not have half the impact it has if it was shorter. I am sometimes more excited to find these bolder and more unusual pieces from him then the more common mod feeling ones. A version of this one was also photoed just after the Spring 1974 collection was shown. Having documentation on it makes it even more special as so many of his pieces don't have any.

This beautiful dress is made out of a coated cotton in an ivory and it is just absolutely stunning. Onto that is a print that is done to look like it was hand painted onto the fabric. I love that the print looks like little abstract hearts though I have to say that some of them almost have the feel of little curled up cats too. Many of his pieces are a play on volume and proportion and this dress is an amazing example of that. It is a dramatic piece that has a slightly more bare and fitted feel through the upper bodice and then flares and widens out very dramatically to the hem. The fabric is light in weight but has enough weight to it to hold the shape. The exterior has a coating that gives it a slight sheen and then inside it is lined in an ivory muslin. The slight sheen combined with the absolutely superb seaming details and ruffles create a fabulous look. All of the seams are set vertically to help add to the feeling of length. The bust drops into a V and it actually zips up at the front along the seam so that the zipper is hidden. Following the neckline is a double ruffle in an organza in two different shades of brown. The organza is finished along it's edge so that it has a bit of structure and can stand outwards from the dress. The same ruffle treatment runs around each opening for the arms. I love the little bow at the base of the neck too. It is just the sweetest with it's shaped and curving feel. It is an extremely collectible and rare dress. It looks to have never been worn or worn very little. Excellent condition with a small note below

Fully lined as described above. It zips to close at the front at the base of the V neck. Tagged a Courreges B. In its original length. I see one small area of spots near the hem and some grubbiness to the interior neckline, otherwise it appears to have been worn very little if at all.

Bust: to 18" flat across the back from seam to seam
Waist: to 15.5" flat across from seam to seam
Hips: to 20.5" flat across from seam to seam
Length: 59" from shoulder to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3974

Reference Photo: Model in Courreges, November 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.

The twin of this dress walked the runway for the 2019 season. This was the show where Maria took a look to the past for her inspiration for the collection. Vogue's Sally Singer noted that; "Chiuri sought inspiration for this collection from Britain’s postwar Teddy Girls, those working-class, rock ’n’ roll–loving beehived vixens who hit the clubs in a mix of men’s Edwardian jackets, full skirts, blue jeans, leather, velvet, and eyeliner galore. She was struck by the similarity in silhouette and the optimistic excess that characterized Christian Dior’s designs of the same period. She was also moved by Yves Saint Laurent’s addition to the Dior pantheon of a men’s black leather jacket for women in the late 1950s. So, heritage, hipsters, and herstory" This dress is one of the ones that felt most like a heritage piece from that show while still having a modern flare. It is just absolutely lovely.

The dress is gorgeous and I love that it can easily have a more elegant evening feel by styling it with heels and some statement jewelry rather then the cap and low boots it was shown on the runway with. It is made out of a fabric that has a puffed and raised texture that combines a deep blue with a black. This added texture gives the dress more visual interest and it is quite stunning. The lines of the dress are simple so that the woman wearing it will take center stage. The neckline is cut across the bodice with a slight curve. Straps extend out from the gathered fabric that edges the neckline and they are meant to be worn off of the shoulder to leave your shoulders bare and free. The fabric is gathered across the front and around you to the back. The waist nips in and you could add a belt to accent the waist more if you wished. The skirt falls from there and hearkens back to the era of Mr. Dior with a fullness through the hips. It falls to the floor in a soft arching curve that is quite beautiful. There are no added crinolines underneath and all of the fullness and volume that you see is achieved by the way the skirt is inset around the waist. There are yards of silk in the skirt so you could add your own crinoline under it and wear it very full if you wished. The dress appears to have never been worn or worn very little if at all. Excellent condition

There is a built in inner cupped corset and it closes at the back with a hidden set zipper. It appears to have never been worn or worn very little

Bust: to 17" flat across from side seam to side seam
Waist: to 13" flat across from side seam to side seam
Hips: open
Bodice: 11" from top of bodice to waist
Skirt: 44" from waist to hem

Modern Sizing Equivalent: SML- MED

Item# DD3966

Reference Photo/Video: Fall 2019 Christian Dior Runway, Look 79. Model Louise Robert.

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

A version of this dress was shown on the runway in a printed chiffon. For production to the stores it was also released in this fabulous silk jersey version. This collection was shown in Marrakech and Vogue's Sally Singer said the collection was "about luxury, globalism, and culture". The dress I have here is simpler then its runway counterpart but that just makes it that much more wearable to that many more events. It is gorgeous.

The dress is a made out of a deep blue silk jersey that falls like a dream. It is heavy enough to feel like a high quality piece but still will move and flow as you walk and move. The front plunges into a low V just slightly crossing over itself where it meets the band of fabric at the waist. The tops of the triangle that cover the bust are twisted for detailing and then they fall into a deep V at the back. This leaves you bare on both the front and the back. There is a little jersey cord that runs across the back to hold the halter perfectly in place. The skirt falls to the floor at the front and the dress is in its original unaltered supermodel length. At the back the shoulders extend out to a caped panel of the same jersey. This also falls to the floor and is one long fabulous swath of jersey. At the sides the cape is curve back into itself and attached down the sides so that it is a part of the dress and not a separate piece. It catches the air and billows out around you as you walk. The effect this has once on and when you move is fantastic. It is fabulous on the body. It appears to have been worn very little if at all. Excellent condition

The jersey serves as the lining and it slips on to wear with an inner elastic at the waist. The elastic is what gives it its shape. If you needed more room or ease through the waist it would be very easy to extend it so that someone with a larger frame could wear it since the rest if the dress is really loose and easy. There is a bit of a ripple in the jersey at the back that curves across the fabric. I think it might be deliberate but it is taken into account with pricing. It is impossible to photo and there is so much fabric you don't see it anyway unless you lay it out flat and spread the fabric out. It is more a mention for accuracy then anything. No size tag present

Bust: 16-18" flat across from side seam to side seam
Waist: 12-15" flat across from side seam to side seam
Hips: to 24" flat across from side seam to side seam
Bodice: 15.5" from top of bodice to waist
Skirt: 48" from waist to hem

Modern Sizing Equivalent: XS-MED

Item# DD3968

Reference Photo: Resort 2020 Christian Dior Runway, Look 87. Model Lineisy Montero.

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

This is a gorgeous little jumpsuit. It has no label so who made it is a mystery but it is fabulous regardless. This is truly a piece that needs an actual body in it to come to life and my dress form is not doing it full justice. I love the colour combination with its shades of bright tropical blues mixed with a soft orange and then pops of black and white. The fabric is a crepe jersey that has a bit of a texture to it and holds the colour extremely well. It is as bright and crisp as the day it came off the rack. It has no sleeves and the bodice is meant to skim over you. The waist is loose and easy so it is very comfortable to wear and move in. The pants are very full and flare out in a gentle swoop of fabric as they fall to the floor. Each is a full 34" around at the bottom hem. At first glance it looks like a full length dress but as soon as you move you realize it is a jumpsuit. I love the addition of the gold cording that has a series of gold metal 'coins' dangling from it. These have been added around the collar and each arm opening. More of it circles the entire waist and because they are set so that they hang from the gold cording they make a pretty sound when you move. It is fantastic and even better in person. Excellent condition.

Unlined and closes with a back painted metal zipper. Each leg is a full 34" around the bottom hem. Hand finished throughout with ribbon edge finishes at the inner hem. There is a good 2.5" turned up under the hem of each leg if you meed more length. It looks to have been worn very little if at all.

Bust: to 18" flat across from side seam to side seam with a B-C cup in room at the front
Waist: 15" when measured flat across the back from side seam to side seam
Hips: to 18" flat across the back from side seam to side seam
Bodice: 13.5" from the neck to the waist seam
Pant length: 47" from waist to bottom hem
Inseam: 31"

Modern Sizing Equivalent: SML-MED

Item# D637

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

This dress was 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 time at the Lanvin label is one of my personal favourites for the house. I especially love the his work during the period through the late sixties and into the early 1970s. He was a genius at print and colour and he pushed the envelope in terms of using cutting edge fabrics available during this time period. This dress dates to the period between 1972 and 1975 and it is just exceptional. He really did mix colour and print like no other and I think this is a stunning example of his work. I love when I find great examples of this label from this time period. 

This Lanvin dress is gorgeous. I am in absolute love with it. The dress has a very unusual but gorgeous colour and print combination. The wool challis fabric it is made of is light in weight and holds colour exceptionally well. The colors are still crisp, bright and true. The dress has little cap sleeves and the neckline plunges into a V at the front and crosses over itself. The main print on the bodice is of florals and then that is edged with a striped pattern at the back and front. It zips down the back and I think it's amazing how the pattern at the back has been set so that it doesn't break in an awkward kind of way. The waist is cut with a loose and easy cut and on each side of the waist are attached ties that you can use to cinch it in a bit. Since they are attached at the sides you can tie them at the front as I have or at the back. The ties are printed with the floral print on one side and the stripes on the other. From under the waist the skirt falls to the floor and it widens as it nears the hem. A wide panel of the floral print runs down the center and around the hem. The rest of the skirt is a white dot on a soft brown backdrop. This is all achieved by the print having been screened onto the fabric and not pieced together. Which means that it was all pre-planned and figured out and that each dress made would have had to have been cut out specifically so that the design sits right over the dress. Incredible. The pattern that runs over the entire dress is spectacular and it is an instantly recognizable piece of his work. Rarely do you see someone able to mix stripes, floral and dots all on one piece and have it somehow work and be as beautiful as this piece is. Excellent condition

Unlined and closes with a back painted metal zipper. Attached ties at the waist as described above. It appears to have been worn very little if at all.

Sleeves: 11" around the ends and 9" long
Shoulder: 15"
Bust: 18-19" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: open
Bodice: 15" from neck to waist
Skirt: 42.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3962

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

The Fall 2011 show was set in a 'forest' constructed on soil that was meant to look burnt and desolate. When asked why he did the set like this, Karl responded by saying 'The world is a dark place'. To offset that gloom he put bright white lights at both ends of the runway to signify hope. In talking about the clothing itself, Vogue's Tim Blanks said in part; 'He (Karl) elaborated on the audacious theme he established for Spring, where jackets and coats looked moth-eaten or tattered. Here, many of the looks had the ashy appearance of clothes that had weathered a natural disaster because they'd been packed tightly in a trunk.' He noted this dress in particular saying; "The palette stayed shadowy throughout, the proportions slightly man-sized, with rounded shoulders. Even the more overtly "feminine" pieces looked like damaged goods, say a skirt of spectacularly shredded chiffon or a pair of full-length knit sheaths that dissolved into loose strands of wool at the back.' and finished his review with; 'Aside from the mesmerizing scenario, the collection's genius lay in Lagerfeld's supernatural prescience about the way a lot of young women want to dress now, mixing the street with enough high fashion fantasy to make the result seem rich and strange.'. The dress is gorgeous and it is always nice to find the twin of a runway piece. I included reference photos, video and one bit of a shot of the back of the dress so you can see how it works on an actual body.

This Chanel dress is wonderful. The cut is simple and classic from the front and yet the back is very avante garde and unique. It is made from a soft but chunky boucle feeling knit that combines black with a grey tinged ivory to keep with the theme of the show. On the runway Karl paired it with knit versions of his signature gloves and a low boot. The wool is light in weight but with enough substance to hold the shape. The light weight makes it a lot easier to wear then you would think. The look of weight comes from the nubbiness of the knit but it is actually quite light. The bodice of the dress has a scooped neck that is finished with a ribbed pattern. The sleeves are barely there and are also edged in that same ribbed pattern for contrast. It is cut to skim over the bust and waist. The skirt continues from there, gliding over the hips and then the dress falls to the floor and gently widens out as it nears the hem. It is in its original supermodel length. At the back it has a curved cut out that leaves the entire back exposed but then he has crossed straps over it for a bit of a peek-a-boo effect. All of the edges are finished in a fringe from the same wool to give the dress that tattered feel that was the theme of the show. Glittering black rhinestone encrusted buttons with the double C embossed onto them close the neck and straps at the back. The construction is immaculate. Excellent condition.

Unlined and slips on to wear. The straps at the back and at the neck button to close. It appears to have been worn very little if at all. It is tagged a Chanel 44. The fabric does have some stretch so should work on a range of sizes.

Bust: has no true side seams but will cover up to 20" flat across from side seam to side seam
Waist: 14-18" flat across from side seam to side seam
Hips: 18-22" flat across from side seam to side seam
Length: 61" from neck to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3965

Reference Photos/Video: Fall 2011 Chanel Runway Collection, Look 45. Model: Jac Jagaciak.

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 spectacular Alexander McQueen dress is from the Pre-fall 2016 collection. The presentation version was far more elaborate but I think I prefer this one. It allows you to really see the pattern on the lace and I think can be worn to more functions with its simpler more versatile feel. Vogue's Sarah Mower said in part of this collection; 'There’s a sensuous glamour emerging through Pre-Fall which seems to be hovering somewhere around the ’30s or ’40s. Sarah Burton has pinned it to a theme she called “thinking about a woman’s obsession with the possessions she treasures, like her jewelry and makeup, and the things she collects.” This Pre-Fall character is a properly elegant woman, with red lipstick and a penchant for feather chubbies and velvet ankle-strap platforms, who might reach into her extensive wardrobe and choose between any number of fragile, dramatic gowns for an evening out.' and the lace butterfly dresses were mentioned specifically; 'Well, it’s a delight when fashion can make you fantasize for a moment. Yet the fact is that Sarah Burton has steered this collection gently away from too much stylization. “It's quite feminine, and unconstructed,” is the way she puts it. The patterns of lipsticks, Fabergé eggs, butterflies, birds, and the McQueen skull motif appear as prints on silk dresses and on coats, as well as on the show-stopping embroidered sheer gowns.'

The dress is almost startling in its beauty. It is made from an inner taupey nude silk that acts as the backdrop for the black net lace that sits over it. This allows you to fully appreciate the pattern that is worked through the lace. From a distance it acts as an illusion that you are bare under the lace. The lace itself has large butterflies worked through it that are beautiful. Every line of the dress is perfection. It falls from the shoulder to follow the curve of your body. Seams worked through the dress create the shape that you see but they have taken great care to line up the pattern of the lace along each seam so that your eye is not broken and the pattern remains true as it trails across the dress. From the waist is falls in one long sheath to the floor widening out gently as it reaches the hem. At the back it has a large curved cut out that leaves you entire back bare and exposed. So when you walk away it has a very sensual and sexy feel. The sleeves are the final touch and they are fantastic. Each is unlined so that you see bare skin through the lace. They are cut high and peaked at the top of the shoulder with a little bit of tulle at the inner edge to hold their shape. It is spectacular and a wonderful example of Sarah's earlier work. It is a wonderful dress now and will be a collectible in the future. Excellent condition

Fully lined in silk as described above and closes with a low set hidden zipper at the back. Three button and loops behind the neck. Each cuff zippers to close. Tagged a modern McQueen 42. I see a slight bit of grubbiness around the inner lining of the neck but otherwise looks to have been worn very little if at all. The hips are slim cut.

Sleeves: 25"
Inset shoulders: 13" with natural shoulders approx 15"
Bust: to 17.5" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: 17.5" flat across from side seam to side seam
Length: 58" from neck to hem
Neck: 14" around

Modern Sizing Equivalent: SML-MED

Item# DD3964

Reference Photo: Pre-Fall 2016 Alexander McQueen Collection, Look 33.

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

Mollie Parnis is one of my favorite American designers. She was known for having dressed numerous first ladies and her dresses regularly appeared in Vogue, Harper’s Bazaar, an