This is perhaps one of the best 1940s tops I have ever had in the shop. It is made out of a black moss crepe and it was this exact kind of a piece that you can see where Ossie Clark would have gotten his inspiration from. It has the feel of one of his pieces but with those extraordinary hand embellishments added. It has a high neckline with an attached tie that extends out from either side of the neck. The top skims over the bust and it is heavily gathered across the shoulders. It buttons down the front with a tightly spaced row of hand covered buttons and hand made and placed fabric loops. The waist is brought in slightly and then it flares out a bit under that. The sleeves are amazing. They are huge and cut to pouf and balloon out over the wrist. Just the lines of the top are perfection on its own. And if that was not enough it was then embroidered and beaded and all of the detailing is done by hand. The band at the waist is entirely covered with a combination of raised embroidery, metal thread and beadwork done with the tiniest possible seed beads. Then on each sleeve there is a huge medallion of the same embroidery and bead work. The colours pop off the black beautifully and the fact that this was all done by hand is just amazing. It is truly a piece of history and a work of art. It is a superb example of this time period. Excellent condition.

Unlined and closes down the front with a series of fabric covered buttons and fabric loops. Each sleeve ends in a gathered elastic cuff. It is in remarkable condition for its age. It is meant to fit generously. It might fit a large if you are narrow through the shoulders

Sleeves: approx 25"
Shoulders: approx 15" but there is no true defined seam
Bust: to 20" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Length: 25" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# S954

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

This is such a wonderful example of the level of hand work that was put into garments from this time period. It is so special and the workmanship is extraordinary. It was completely made by hand and the beadwork on it is amazing. Teeny tiny seed beads have been hand applied to the black silk crepe base. They are set to follow that wonderful jagged hem. This ends in points all around the top and the beadwork is done in two wide panels stacked on top of each other in the exact same shape. Each beaded band is a full 5" at its widest point. The beads are a combination of red and black and the work to hand apply all of these beads would have taken many hours. The shape of the top is perfectly representative of the time period with a loose and easy cut that just falls over the body. The neck is scooped and there is a button at the back that sits above a small open keyhole. If you love it in the pictures you will be extraordinarily happy when it arrives. It is in extremely good condition and it is strong and wearable despite being 100 years old. It is a true work of art. It is very rare to find pieces from this time period on this condition anymore. Excellent condition.

Unlined and slips on to wear. Buttons at the back of the neck. The loose fit will allow it to fit a range of sizes

Shoulders: no defined seams
Bust- hips: 21" flat across from side seam to side seam
Length: 22" from neck to longest point on the hem

Modern Sizing Equivalent: XS-MED

Item# S953

Note that antique and twenties pieces are final sale. They will be packed exceedingly well and we only sell pieces that will stand up to the stress of shipping, however, having pieces potentially shipped multiple times through multiple customs and countries is too hard on garments that are historically important and deserve to be treated with love and care. Please purchase accordingly.

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

Azzedine Alaia pieces are always a delight to find. His knits were all self developed and are among the best out there. He started his career as a dressmakers assistant  and copied couture gown for wealthy Tunisian clients. In 1957 he moved to Paris and worked for Christian Dior for a grand total of five days. He then moved to Guy Laroche and quietly started to get private commissions on the side. By 1960 he was doing mainly private work and within a few years established a small salon on the Left Bank where he continued designing privately. He stayed at that salon until 1984. During this time period he also did private freelance work for other designers including Claude Montana, Thierry Mugler and even Yves Saint Laurent. It was not until 1981 that he launched his first official collection and by 1983 he had a boutique in Beverley Hills. The French Ministry of Culture honored him with the Designer of the Year award in 1985. In 1993 he decided that the established fashion show schedule was not for him and he eschewed producing a new collection every season. Instead he showed when his collections were ready and continued to do so until his death in 2017. 

Alaia cut the pattern and assembled the prototype for every single piece that he created. He was one of the few designers that often worked on a live model and many give this as the credit for his incredibly flattering pieces. He hated undergarments and instead made his pieces work to shape the body on their own. He developed his own proprietary knits and they are this incredible combination of give and take. This skirt is from the Fall 2000 collection and was made in both a long and short length as well as two colour ways. Included here is an editorial shot of the more pink, long version of the skirt and it gives you an idea of its incredible fit. The upper part of the skirt hugs the hips to shape them and then the skirt flares out from there. I love the gored effect created by the knit opening into angled vertical seams. Inside each panel are flowers that trail down the full length of this part of the skirt. Each is woven directly into the knit and the colours are gorgeous and vibrant. Very easy to wear and a great piece of Alaia to add to any collection. Excellent condition 

Unlined and slips on to wear. The fabric has stretch so should fit a range of sizes. The measurements below are the comfortable range of stretch when laying flat. It will probably stretch a little more on an actual body. Tagged a vintage Alaia XS

Waist: 12-15" flat across from side seam to side seam
Hips: 15-19" flat across from side seam to side seam
Length: 25.5" from waist to hem

Modern Sizing Equivalent: XS-MED

Item# S952

Reference Photo: ELLE US, September 2000. Photographed by Gilles Bensimon.

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

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

This is a gorgeous little dress that is even better on the actual body. The top is made of a fine silk netted lace with an open weave. It is backed by a black silk organza so it has just a touch of transparency to it once on the body. The lace is then covered with burst of densely applied sequins that form large flowers over its surface. The shoulders are lightly padded for shape and then the sleeves are cut to be fuller at the top and then they taper down to the wrist. The bodice skims over you to just past the waist to transition into a dropped skirt. The skirt is the perfect contrast to that decadent top. It is a simple black silk taffeta and set into the dropped low seam of the top with a series of soft pleats. This gives the skirt tons of volume. Inside and circling around the hips is a built in inner peplum to help hold the skirt away from the body. If you really wanted to create a very full shape you could easily add a crinoline underneath and really exaggerate the shape that you see. Inside the dress is all made by hand and has the haute couture details we all dream of. It is fabulous. It appears to have been worn very little if at all. Excellent condition 

The top is fully lined in a black silk organza and the skirt is a double layer of the silk taffeta. It closes with a back metal zipper. The interior shoulders are lightly padded and there is a built in inner hip peplum. Each cuff zippers to close. It appears to have been worn very little if at all. Made to Haute Couture standards with a tremendous amount of detail put into its construction. 

Sleeves: 23"
Shoulders: 15"
Bust: 18.5" flat across from side seam to side seam
Natural waist: 15" flat across from side seam to side seam
Dropped seam at top of skirt: 18"
Hips: open
Bodice: 20" from neck to dropped skirt seam
Skirt: 17.5" from dropped waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3798

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

Alber joined Lanvin in 2001 and served as the labels Creative Director until 2015. His first break as a designer came when he landed the senior assistant role at Geoffrey Beene. He stayed there for seven years until he was recruited to design for the Guy Laroche label in 1996. in 1998 he took over the Rive Gauche ready-to-wear for Yves Saint Laurent for three short seasons. A stint at Krizia and then a break happened before his time with Lanvin. The Alber years for Lanvin are ones that are much loved by all and with his recent passing owning these pieces seems even more poignant. This dress is extra special as it is both a runway pieces and also one of the dress that was featured in the now iconic ad campaign movie featuring Karen Elson & Raquel Zimmerman. 

This dress is exceptional and really represents the best of Alber's work. It is made out of a fabric that is a silk and cotton mix. This allows it to really hold the shape that you see. There is quite a bit of fabric in the dress and it is a decent weight as a result. It feels like couture once on. The design that covers every square inch of fabric is a huge rose print done in a graphic grey scale. This gives it this lovely dark romantic feel. The twin of this dress walked the runway for Look 39 and having all these reference points gives you an amazing idea of how it will look like on. The bodice has a slightly dropped waist and it meant to skim over the body. Each sleeve is cut to just below the elbow and then explodes out into a wide cuff that gets it fullness from built in soft pleat work. The skirt mimics this same volume and there to you see the quirky and irregular pleat work that gives it a sculpted volume all the way around you. It is also gathered in a slight curve under at the hem so that it has some volume there. The shape is reminiscent of a tulip or slight bubble skirt shape. At the back there is one of his signature exposed and chunky zippers that runs right from the hem to the top of the neck. All the elements of this dress taken one by one are a little quirky but together they showcase his genius. It is just fabulous. It looks to have been worn very little if at all. Excellent condition 

Fully lined on a black silk and closes at the back with the exposed zipper that you see. Tagged a 38 but runs generously so please go by the measurements below. Slight padding in the shoulder and top of the sleeve to hold the capped shape you see. This might fit a larger frame as well if you are narrow through the shoulders

Sleeves: 19.5"
Shoulders: 15"
Bust: 18" flat across from side seam to side seam
Waist:15 " flat across from side seam to side seam
Hips: open
Bodice: 17" from top of bodice to waist
Skirt: 22" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3799

Reference Photos: (1-4) F/W 2011 Lanvin Runway, Look 39. Model: Freja Beha Erichsen.  /  (5) Fall 2011 Lanvin Ad Campaign. Karen Elson & Raquel Zimmerman by Steven Meisel.

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

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

Black is sometimes so hard to photo and I really feel that this set is not being done full justice with these photos. It  is so much better in person and on an actual body. The jacket is just exceptional in real life. It is entirely made by hand and the majority of the jacket is made of a fine silk netted lace with an open weave. It is backed by a black silk organza so it has just a touch of transparency to it. Then onto that it is covered with burst of densely applied sequins that form large flowers. The shoulders are a solid fabric and this extends down into angled panels at the front and the back. Each shoulder is lightly padded for shape and then the sleeve are long and also have that hint of transparency to them. The bodice skims over you with just a suggestion of of shape through the waist. Big glassy faceted buttons close the jacket down the front. The collar is small and neat and set back from the front of the jacket. The skirt is the perfect simple contrast to that decadent jacket. It is a simple black pencil shape and it is also entirely by hand. The more simple and sleek silhouette balances the drama of the jacket. Both piece are made by hand and have all the couture details we all dream of. It is a fabulous suit that can be made to be a very glamorous evening look. I love that you can also mix and match the pieces with things from your own existing wardrobe. It appears to have been worn very little if at all. Excellent condition 

The jacket is fully lined in a black silk organza where the lace parts are and the opaque panels are lined in a fine black silk. The skirt is also lined in a black silk. The jacket buttons to close down the front and the skirt closes with a side set zipper. The interior shoulders are lightly padded. It appears to have been worn very little if at all. Made to Haute Couture standards with a tremendous amount of detail put into its construction. 

Jacket
Sleeves: 22.5"
Shoulders: 15.5"
Bust: 19" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: 19.5" flat across from side seam to side seam
Length: 24.5" from neck to hem

Skirt 
Waist: 14" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 23" from waist to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3800

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 little dress is from the days when founder Consuelo Castiglioni was the head of the company and acting Creative Director. The brand launched in 1994 and quickly became known for their innovative prints and the way she mixed and matched colors. This is classic Marni from this time period. The twin of this dress walked the runway that season on Kasia Struss. 

This dress is one of her very easy to wear loose and open smock pieces. They are just genius. It has sleeves that run just past the elbow and the cut through the body is loose and full. On the runway it was worn with the V to the back and you can see how this creates an oversized feel to the dress from the front. The neckline is a simple scoop on that side and then at the back it plunges to a deep V. On the skirt under the V the fabric has been gathered and seamed to create an off-set gathered feel. The dress falls in a loose baby doll smock feeling shape around and below that. This one has the added advantage that you can easily flip it around and wear the deep V to the front. It has such a quirky shape that you can totally get away with it. You can also add a belt to give it more shape and an entirely different look. It is like getting four dresses in one as you can wear it both to the back or front and then belted either way as well. It is also very easy to wear and travel with. The fabric is a synthetic crepe and it stays virtually wrinkle free and is just heavy enough to hold the shape. It is a great example of her work during this time period. Plus it has pockets. Excellent condition

Unlined and slips on to wear with no closures. Pockets hidden along the hip seams. It looks to have been worn very little if at all. Tagged a 46. The loose and easy cut should fit a range of sizes

Sleeves: 16"
Shoulders: no defined seam
Bust: to 22" flat across from side seam to side seam
Waist: to 20" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 38" from shoulder to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3795

Reference Photos: Fall 2007 Marni Runway Collection, Look 55. Model: Kasia Struss.

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

Marc Bohan began his career in 1945 under Robert Piguet and stayed there for four years. He then became an assistant to Edward Molyneux and then went on to design for Madeline de Rauch for a year. In 1953 he produced one single collection under his own name and then was wooed away to design for Jean Patou where he designed their Haute Couture collections. In 1958 he landed at Dior where he designed the Christian Dior London label until September of 1960. It was at this point that he took over from Yves Saint Laurent and remained the Creative Director at Dior until 1989. This coat would be an early piece under his direction and I found two instances of its documentation that I have included here. I have seen one other for sale out there but this one has the lovely added provenance of having the original owners name embroidered into the lining. A small touch that makes it that much more special.

This is such a lovely piece. It is made out of a coated cotton so that it will apparently withstand the rain but certainly presents itself as a gorgeous light jacket or coat and not a rain specific piece. The cotton is covered in a large rose print that just pops off of the black backdrop. It is in absolutely perfect condition and it looks as fresh as it would have the day out was put onto the rack in 1962. The sleeves are cut to the elbow and each is full above its buttoned cuff. I love the volume that has been added there and the precise tailoring to achieve that effect. The collar uses the same pleating techniques to give it a touch of volume and you can see in the one reference photo how great it will looked flipped up to frame the face. The collar is cut to curve around the back of the neck and then has a notched and angled collar below that at the front. The body of the coat is quite generous and the matching belt can be worn two ways. You can wrap and cinch it for maximum shape or you can slip it through the openings along the seam on either side and run it inside the coat at the back and tie and cinch just the front part. This allows the back to stay loose and very full. I have photoed it both ways for you to see. Pockets run along the front on each hip and the fabric choice has just enough weight to hold the fabric how you wish it to fall once belted. Hand covered silk snaps help to hold everything perfectly in place as well. It is absolutely a little treasure of a piece and I love it. Excellent condition

Fully lined in a black silk and closes with silk covered snaps and the tie belt as descried above. Pockets on each hip and the cuffs each button to close. It appears to have been worn very little if at all. The loose and easy cut should allow it to fit a range of sizes. 

Sleeves: approx 16.5"
Shoulders: no defined seams
Bust: to 20" flat across from side seam to side seam
Waist: to 22" flat across from side seam to side seam
Hips: open
Length: 39.5" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# DD3796

Reference Photos: (1) Dior Fashion in The Salem Ohio Newspaper, 1962.  /  (2) Model in Dior, Harper's Bazaar, April 1962.

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 2010 Chanel collection is still one of the strongest and most memorable of the Karl Lagerfeld days. Vogue's Sarah Mower said in part of the show: "Freja Beha Erichsen and three bears on an ice floe. This was the arctic scene at Chanel, where giant chunks of bona fide iceberg, specially transported from Scandinavia, formed the frozen landscape around which models solemnly splashed through a sea of 'berg-melt in shaggy snow boots with ice-block heels. The Karl conceit of the season, no surprises, was an in-every-way extravagant play on Coco in cold weather. Using more fur than he'd even flung at Fendi—the twist being that here the fur was fake—Lagerfeld steered this collection nearer to couture than ready-to-wear than ever. Fur was woven into brown tweeds; formed deep pelmets on the lower half of leather jackets; became almost igloo-shaped capes, bonnets, even—for goodness' sake—furry trousers. Meanwhile, the suit and coat combinations also had a level of lavish elaboration usually reserved for haute eveningwear. Fur-fringed embroideries and ice jewelry conspired to create intensely worked ruffled and beaded silhouettes that glinted with rock-crystal neckpieces and fistfuls of rings. Somewhere in there, a flash of translucent silver seemed to be a clutch in which the quilting of the CC classic bag had been frozen into the likeness of a refrigerator ice cube tray." This dress was one of the knit and fringed pieces and was one of the most wearable dresses shown. It's twin was presented on the runway for Look 21 worn by Anna de Rijk.

This is a stunning and easy to wear dress. It is made out of one of the classic Chanel boucle knits and then has thick rows of yarn woven though that. The yarn detailing it was done in a range of colours going from a white to a deep navy to a deep red with variations of each colour running down each. The wool that the dress is made out of is very high end and surprisingly light in weight. These wool pieces are part of the Chanel legacy and Karl's genius in perfecting them and no one does it better. The cut is simple but perfect. It has a slight scooped at the neck and then skims over the bodice. Pockets sit on each side of the front and the sleeves are capped. Each sleeve ends with an edging of black yarn. This same black yarn edging is used at the neckline, the waist, hem and on the pockets. The waist is cinched in with a wide band and then the skirt falls in a pencil shape that has just a touch of as flare as it nears the hem. The neckline has a heavy fringe bib detailing that tied it into the collection perfectly. The fringe is made of yarn and sequins and it appears to be all done by hand. It is just gorgeous and is an amazing example of his work from this time period. It appears to have been worn very little if at all. Excellent condition.

Fully lined in a fine black silk and closes with a hidden set back zipper. Tagged a Chanel 36. If you are narrow through the shoulders it could fit to a Medium 

Shoulders: 14"
Bust: to 18" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Length: 36" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# DD3796

Reference Photos: Fall 2010 Chanel Runway Collection, Look 21. Model: Anna de Rijk.

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

This gorgeous Emilio Pucci dress is made from one of his signature velvet fabrics. These velvet pieces hold color especially well and they have a rich decadent feel to them that is hard to beat with their modern counterparts. His velvet pieces are among my personal favourites and this little dress is exceptional. The prints that he used for these during this time period were all created by Emilio himself. They then underwent a process that transferred them perfectly to the velvets that he used. For this dress you can see how the print is purposefully laid out to highlight the cut of the dress. He chose a rich colour palette of blues for the dress and it is instantly identifiable as a Pucci. The colors all pop against each other beautifully. The dress is kept simple in its cut so that the colours can shine. It is cut in that classic sixties mod shape that is easy to wear. The bodice skims over the bust with a high neck. From there the dress falls on an angle outwards to the hem.  Down each wide cut sleeve is a panel of one of his signature borders that creates a contrast to the main print. This same border treatment circles the hem, the cuffs, runs across the shoulder and around the neck. Another double line of it runs up the back of the dress. I love the burst of colour and print on the front of the dress and that great circular medallion feeling pattern that runs over the entire front. The fabric and pattern would have had to have been laid out in advance to create this look. This is something you don't see as often in modern pieces because it adds to the costs of production. It's really good. Excellent condition

Fully lined in a white silk and closes with a hidden set, back painted metal zipper. Hand finishes throughout. 

Sleeves: 20"
Shoulders: 15.5"
Bust: to 19" flat across from side seam to side seam
Waist: 17.5" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 35" from neck to hem
Neck: 17" around 

Modern Sizing Equivalent: SML-MED

Item# DD3794

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 lovely dress by Alber Elbaz for Lanvin. Alber joined Lanvin in 2001 and served as the labels Creative Director until 2015. His first break as a designer came when he landed the senior assistant role at Geoffrey Beene. He stayed there for seven years until he was recruited to design for the Guy Laroche label in 1996. in 1998 he took over the Rive Gauche ready-to-wear for Yves Saint Laurent for three short seasons. A stint at Krizia and then a break happened before his time with Lanvin. The Alber years for Lanvin are ones that are much loved by all and with his recent passing owning these pieces seems even more poignant. 

This is a lovely and easy to wear dress. The simplicity of it makes it so very versatile and I love the deep blue colour of it. It is not quite a navy and it has a touch of a smoky blue feel to it. The colour is softer then a true black and you can pair so many other colours with it. A dress like this is truly one of the most versatile pieces you could add to your closet as the possibilities of how to wear it are endless. The cut is very simple. It is made from a very good silk that has a lovely drape. You simply slip it over the head and there is a row of buttons down the front that you can wear open or fully closed. The dress skims over and away from the body and it is quite generously cut. The genius is in the extra long tie belt that you can wrap around you and add as much shape as you wish. The silk is so light and easy that it is a dress that should fit a range of sizes because of the amount it can be cinched into, or not cinched in, is quite a range. The sleeves are long and button at each cuff. It is really a gorgeous dress and very well made. Excellent condition 

Unlined and slips over the head to wear. It buttons partway down the front and each cuff buttons to close with two buttons. 

Sleeves: 25"
Shoulders: 15"
Bust: to 22" flat across from side seam to side seam
Waist: to 19" flat across from side seam to side seam
Hips: to 24" flat across from side seam to side seam
Length: 45" neck to hem
Belt: 120" end to end 

Modern Sizing Equivalent: SML-MED

Item# DD3793

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 Leonard Paris label began as a textile firm in 1954 and for the first four years of its existence it only produced fabric. In 1958 they started making garments but it was not until about 1970 when they started using a printed silk jersey for the majority of their collections that the label really took off. They are often compared to Pucci and during the seventies the two labels battled it out to be the label of choice for the jet set.

I love whenever I get a fabulous Leonard dress into the shop. They are so chic and easy to wear and travel with. This one is a beauty that is made out of one of their signature silk jersey fabrics. This fabric choice is what gives these dresses their perfect drape and fit. Each of their dresses were made of custom designed fabrics and prints. I have had a very similar print to this one in the shop in the past and I think this one is even better as it has a broader range of colours in its mix. This one has a gorgeous floral print that runs over the sleeves and across the shoulders, trails down the bodice and then runs heavily around the hem and up and into the skirt. The colour palette is a beautiful mix of bright pastels and the flower print is large and very pretty. I love the soft cut over bodice and how each sleeve is cut to pouf out slightly over the cuff. The dress skims over the body and flares out slightly as it nears the hem. You can wear it loose and easy or use the belt to give it shape. I love the contrasting borders that define the neckline, cuffs and hem. The matching belt is done in that same print as the borders are so it too becomes a design element. It is a real little beauty. Excellent condition.

Unlined and closes with a back, hand set metal and nylon zipper. The fabric is a silk jersey and does have some stretch with the fabric signed throughout. The buckle belt is in excellent condition. Each sleeve buttons to close on the cuff. 

Sleeves: 22"
Shoulders: 14"
Bust: 17-19" flat across from side seam to side seam
Waist: 16-18" flat across from side seam to side seam
Hips: 20-23" flat across from side seam to side seam
Length: 44" from shoulder to hem
Belt: has three holes set at 27", 28" and 29" respectively 

Modern Sizing Equivalent: SML-MED

Item# DD3792

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 comes from a collection of Bill Blass pieces from a woman who was a close personal friend of Mr. Blass for many years. Many of these pieces were custom made for her and all of them are in excellent condition. These are rare and hard to find examples of his work from the late 1970s and into the 1980s. Some may be the only version of its kind that were made. The family would also like it to be known that their portion of the proceeds from each sale will be donated to charity. This dress is especially interesting as it definitely inspired some of the dress from Valentino in 2020. He used the same long ruffled technique that details the skirt on this one. It is also a dress that we found two references of similar pieces held in museum collections. 

This dress is stunning. It is from the Spring 1981 collection and I have included two reference photos of variations on it that are held in Museum collections. One is a dress in this same colour and the second with the same ruffle treatment. This particular shade of pastel green was used throughout his collection that year and was the colour of the season for Blass' clients. The dress is beautifully made and the closer you start to look at it the more you start to see the fine detailing that was put into its construction. The work that would have gone into piecing this together using that fine silk chiffon is astonishing. The silk is completely cut on the bias but also has defined seams so that you get the ease and movement of the bias cut through the skirt but with a defined shape over the body. The neckline is a high and scooped. The bodice is made from two distinct layers. There is an inner silk tank with tiny silk straps and then the sleeved chiffon bodice sits over that. Each sleeve is cut long and ends with two silk covered buttons at the wrist. The back hooks at the top of the neck and leaving an open slit that runs from the neck to the first button. The waist is seamed for a touch of shape and you could easily add a belt if you wanted a more cinched in feel. The skirt falls to the floor below that in a beautiful cascade of ruffles. The ruffles are set vertically in rows that run all the way around the skirt. This combined with the bias cut of the skirt creates incredible movement when you move snd there is more fabric in there then you first think. It is beautiful. Excellent condition with one small note below

Fully lined in an interior layer of a slightly deeper color green silk. It closes with a back zipper and then the silk chiffon layer close over that with snaps below the waist and hook & eye above. Each cuff has two silk covered buttons. Hand finishes. The color is absolutely fantastic and even better in person. It is a a touch paler green in person then how it photoed. The fabric does have some give due to the bias cut but the waist seam is set. There is one tiny mark on the front bodice. Please review the photo after the label shot. 

Sleeves: 22"
Shoulders: 15"
Inner lining bust: 18" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Bodice: 16" from top of bodice to waist
Skirt: 43" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3280

Reference Photos: (1) Evening dress, 1981 by Bill Blass. Gift of Mrs. Ronald Reagan from the Classic Chicago Magazine.  /  (2) 1981 Bill Blass Dress from the Indianapolis Museum of Art 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 lovely unlabeled piece from the 1960s that is made out of a metallic organza. There is an underlying pattern on the organza done in green and pink and then a metallic gold thread has been woven through the organza to create a secondary pattern. The metallic thread runs over both the pieces of the set and the matching belt. The gold catches the light beautifully and really adds detailing to the piece. Like the Malcolm Starr I just had in the shop this one is also meant to be worn over the hot pants that are original to the set. The top piece looks like a dress at first glance but you soon realize that one side of the skirt is completely open from the waist to the hem. The bodice is cut with a high scooped neckline and no sleeves. It skims over the bust and nips in at the waist. The skirt flows down from under there and the entire one side of the skirt is slit from the waist to the floor so that the side is completely split open. If you wanted to add to the versatility of the piece you could easy add a snap or two to be able to wear it on its own and as a true dress. Otherwise you can wear it as it was originally intended by adding the matching shorts underneath. I love that the edges down the side that is open are detailed with a gold braiding and the various crystals and beads that are set within that braiding. It gives it an added extra bit of bling that just puts it over the top. The shorts that go underneath are flat fronted and cut like boy shorts. Beside still having its original shorts it also has the original sash that you can cinch the waist in with like I have for these shots or you can use it around the neck or as a head wrap. The fabric choice gives the dress a touch of structure so it holds the shape and the metallic thread makes it glitzy and fun. This is an easy to wear but glamorous dress set that perfectly represents it time period. Excellent condition.

The top and shorts are fully lined in a black silky rayon and the skirt is unlined and is partially transparent. Both the shorts and the dress close with metal & nylon zippers, the shorts at the front and the dress at the back. The organza feels synthetic. The tie belt is original to the dress. 

Dress
Bust: 18.5" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: open
Bodice: 14" from neck to waist
Skirt: 43" from waist to hem

Shorts
Waist: 14" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 15.5" from top of bodice to waist
Inseam: 2"
Rise: 15" 

Modern Sizing Equivalent: SML-MED

Item# E696

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

Jean-Louis Scherrer was a Parisian fashion designer and couturier. He trained under both Christian Dior and then Yves Saint Laurent when he started his career at Dior. He worked briefly for Louis Feraud and then launched his own fashion house in 1962. From 1962 to 1992, Jean-Louis Scherrer dressed some of the most prestigious women in the world including Jacqueline Kennedy, Princess Paola of Belgium, Sophia Loren, Raquel Welch and many more. His work was known for known for being opulent with lavish trimming like the buttons in this dress. He sourced and used the very best of fabrics for his pieces. It is wonderful to have such a beautiful piece of his work in the shop. The dress has no labeled but comes to me from its original owner who removed the tag at some point 

This dress is exceptional and a remarkable example of his work during this time period. The colour is amazing. If you love it in the photos you will be even happier with it in real life because there is a richness to the silk that the camera could never capture. It is a bright spring green that is mixed with white and a slightly deeper green. This creates that spectacular floral print that covers the entire dress. The fabric that the print is screened onto is a fine silk gazar that has a secondary floral print that is woven directly into the silk. This adds to the rich feel of the fabric. The dress is light in weight because of this fabric choice but at the same time this particular silk allows the dress to hold its incredible shape. I did not add any additional crinolines under the skirt. That fullness is all created by seaming, how it is pieced together and the inner skirts that are there already. The print is huge and exuberant, covering the entire dress from head to toe. The skirt is wonderfully full and has been made from several yards of bias cut silk. This floats over inner silk and tulle skirts that create the shape and volume that you see. The bodice is constructed so that it has the feel of a sculpted evening jacket but it is actually fully attached and a part of the dress. The collar is set so that is sits slightly raised up so that it frames the neck and face. It is also cut wider across the front so that you get this lovely glimpse of the collarbones before it plunges into a V at the front. Large jewelled poured glass gripoix buttons run down the front giving it a slight Chanel feel. The sleeves are long and taper in as they near each wrist. The waist curves in and then the fabric flares out over the hips and curves down and around the back. An attached half belt is finished with that perfect oversized bow at the back. It is absolutely beautiful. Excellent condition with a minor note below

Fully lined in a deep green silk and closes with zipper set down the middle of the back. Each sleeve has a zipper at its cuff. Under the buttons at the front are hidden hand set silk covered snaps. The skirt has an two inner attached skirts. There is a silk layer as described above and then there is an inner tulle layer that is attached starting just under the hips. The belt closes with velcro and that was almost certainly a later addition so that tar belt sits more flat. Hand finishes. There is one small repair and small marks near the hem of the back skirt near the side seam. Please see the last two photos. Very minor. 

Sleeves: 22"
Shoulders: 14.5"
Bust: 17" flat across from side seam to side seam
Waist: 13.25" flat across from side seam to side seam
Innermost lining hips: 19.5" flat across from side seam to side seam
Bodice: 15" from top of bodice to waist
Skirt: 44" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3279

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

This is a beautiful example of Valentino's Haute Couture work that he was doing during the 1980s. I have dated this to the Spring 1980 collection based particularly on the sleeves which were a highlight of the collections in and around this time period. The dress is exceptionally well made and of course being Haute Couture was entirely made by hand. It is beautiful. Finding pieces from this time period in such immaculate condition is a rarity and I am very pleased to have this beautiful dress in the shop. 

This exceptional and rare Haute Couture dress from Valentino Haute Couture is wonderful. The dress has a deceptively simple cut but the closer you look at it the more of the numerous couture details become apparent. It is a very easy dress to wear with its simple shift feeling shape but at the same time it is cut to drape over you perfectly. The neckline is a simple and wide scoop at both the front and the back. It runs down and over the body and is meant to skim over your curves. The waist is cut with a generous feel and if you wanted to add shape you could easily add a belt to cinch it in and give the dress an entirely different feel. Under the generous waist seam the skirt falls in a series of small knife pleats, each set precisely beside its neighbour at exactly the same distance apart. These pleats give the skirt lots of movement. Inside and underneath is a second layer to the skirt and it is also finished with the same pleating. That inner layer has a double panel of the pleats so that you actually see the edges of three full layers when wearing the dress. These layers swing over each other and when you move they move to create a stunning effect. The sleeves are the perfect finish and balance out the pleat work on the skirt.  Each is three tiers of ruffled pleats and they also give movement when you move. The perfect finishing detail is the subtle black on black floral print that is woven through the silk. The dress is soft and fluid and it falls beautifully once on an actual body. This is Haute Couture under the masterful hand of Mr Valentino himself and is an exceptional example of his work. Excellent condition.

Fully lined in handset, very high quality black silk chiffon through the bodice and the skirt is lined in a black silk. All couture construction and it closes with a hand set, fine metal zipper at the back. Made by hand to haute Couture standards

Slightly inset shoulders: 14.5"
Bust: 19" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 22" flat across from side seam to side seam
Length: 14" from shoulder to waist
Skirt: 27: from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3788

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

This is one of my all time favourite Yves Saint Laurent pieces. I am always excited to find examples of Yves' work from this time period and this one is extra special because it is a version of the dress that was photoed for the ad campaign for YSL that season that ran in the September issue of Vogue. I love this dress so much and it is extremely flattering once on. 

This is a fabulous Yves Saint Laurent dress that is made of a classic black silk crepe. The cut has a definitive nod to the forties with its strong shoulder and cut. Every detail on it is perfection and it is a dress that you will reach for again and again. The sleeves and shoulders are a moment on their own. There is padding inside to help support and shape them. The sleeves are shorter and each wraps around the arm and overlaps over itself. This creates a very pretty curving shape and I love this tiny detail. Across the tops of the shoulders the fabric is gathered and this creates soft folds that run over the bust. Again this a very forties detail. The front neckline plunges into a V and then under that a series of glossy black sequin bands start. The bands of sequins are set over top of elastic that is built into the dress. These start just under the bust and run over to the top of the hips, wrapping all the way around you. This makes the entire middle part of the dress elasticized and very easy to wear. It is very comfortable on while at the same time the rows of elastic molds and shapes you into an hourglass. This bandage effect also gives the bodice above and the skirt below the illusion of more volume and that just adds to the hourglass feel as well. Below the last row of sequins the skirt flares outs and it is quite jaunty. It is a dress that really needs a body in it to truly come to life and it is gorgeous on. Excellent condition

The fabric is self backed in a satin. Well finished inside. It slips on and the gathered area between the sequins is elastic for an easy fit. Light padding in each shoulder. Tagged a vintage YSL 38 but the easy cut and elastic should allow it to fit a range of sizes. It looks to have been worn very little if at all

Shoulders: 15"
Bust: 15-20" flat across from side seam to side seam
Waist: 10-16" flat across from side seam to side seam with stretch
Hips: 14-20" flat across from side seam to side seam
Bodice: 10" from neck to first sequin band
Banding: 15" from first sequin band to last
Skirt: 19" from last sequin band to hem

Modern Sizing Equivalent: XS-MED

Item# DD3786

Reference Photo: Yves Saint Laurent Rive Gauche, Vogue, September 1983.

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

This is a wonderful piece that would have originally been worn over pant or shorts based on that one side of the skirt that is completely open from the waist to the hem. The dress is made from a creamy ivory fabric that feels like a light mixed of cotton and synthetics. It has a slight ribbed texture that runs over it. The lines in the fabric all run vertically over the dress and this adds to the feeling of length that it has. The bodice is cut with a high collar and no sleeves. It skims over the bust and nips in at the waist. The skirt flows down from under there and the entire one side of the skirt has a ruffled finish in the same ivory fabric. The ruffles also hide that slit that runs right from the waist to the floor so that the side is completely split open. You could easy add a snap or two if you wanted to wear it as a true dress or wear it as it was originally intended by adding a pair fo shorts, tights or trousers underneath. Big gingham patchwork flowers run over the bodice and also trail down the skirt. I love the pop of colour and optimism the flowers give the dress. You cannot look at this piece with its big happy flowers and not feel wonderful. And if that was not enough, the entire inside lining of the skirt is finished in a matching blue gingham. With the skirt being open down the side you completely see this lining when you move. It's fantastic. The final finishing touch is the padded and piped gingham tie belt that wraps around the waist and ties everything together. It is an amazing combination of colour and textures. It is so dramatic and like wearing art. I love it. Excellent condition with a minor note below

Fully lined in a blue cotton gingham and zips to close at the  back. There is a slight hint of yellowing to the fabric at the collar and the upper back. It otherwise appears to have been worn very little if at all. 

Bust: 19" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 16" from top of bodice to waist
Skirt: 41" from waist to hemm

Modern Sizing Equivalent: SML-MED

Item# DD3789

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

Christian LaCroix launched his Haute Couture house in 1987 and was an instant success on the worldwide stage. A ready-to-wear line soon followed along with perfumes and menswear. His collections are always exotic, lavish affairs and his designs seemed to span the decades with their eccentric glamour pulled from multiple sources of inspiration. This dress is from the Spring 2008 collection and is from one of his last collections since the atelier closed the following year. On the runway it was shown as a more cocktail length but I love the ease and simplicity of this full length version.

I actually own the twin of this dress and have had it in my personal archives for many years. I was so happy to have my client send its twin to me so that I have another one for someone else to love it as much as I love mine. I love this dress and how it showcases LaCroix's love of print. The bodice has an almost halter feel to it created by the straps that extend down from the shoulders and into a deep curve at the front that scoops down and under the bust. At the back it is scooped even lower to leave your back bare. The fabric of the bodice wraps around you and is more fitted. Nestled within the scoop at the front there is a dense application of beadwork, crystals and embroidery. This adds a subtle yet beautiful touch of glamour to the dress. The waist is cut generously but there is a matching tie belt in the same fabric that you can use to cinch it in as much as you wish. The tie is long so you can create a gorgeous bow like I have, wrap it around yourself for a more clean and simple look, or simply let it trail down the skirt. Under the waist the skirt falls in a sweeping cut that widens out as it nears the hem. The skirt is made up of yards and yards of silk organza and he has set the hem so that it has a bit of a pouf to it that gives it even more volume and movement. The back is cut slightly longer then the front and it has a wonderful lightness to it. And it has pockets. The entire dress weighs very little because of the fabric choice and this adds to the high fantasy feel that it has. I love the exuberant and joyful print that runs over the organza. It is bright and happy and feels oh so very Lacroix. It is magnificent. It appears to have been worn very little if at all. Excellent condition

Fully lined in an ivory silk and closes with a hidden set side zipper. Tagged a size 40. 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: open
Bodice: 15" from top of bodice to top seam at the waist
Skirt: 41" from top seam at the waist to front hem, 47" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD3791

Reference Photos: Spring 2008 Christian Lacroix Runway Collection, Look 45.

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 dress. It is from the 2009 Resort collection and was Look 12 of the presentation. In 2009 Valentino was headed by Alessandra Facchinetti. Vogue's Laird Borrelli-Perrson said of the show; 'In her third collection for Valentino, Alessandra Facchinetti sketched a portrait of a lady in soft hues—pearl gray, icy white, and blush pink—punctuated with pops of chartreuse and rich fuchsia. The chic yet restrained suits she showed for day had soldier jackets with peplumed backs and rows of tiny covered buttons. Release came in the form of ruffles, which fluttered throughout the collection but found their most elegant expression in organza gowns. Smartly paired with metallic flats, these embraced the bodice before wafting to the floor.' This is one of the three stand out organza dresses shown in this collection and I think it was the best one of the three.

This is the kind of dress that you see in real life and it makes you swoon. As good as it looks in the photos it really comes to life on the body. When you move in it the air around you picks uo the silk and organza and it really has beautiful movement. It is made out of a combination of a black silk organza and black silk chiffon. This is layered over inner layers of more silk chiffon. On the skirt there is a doubled inner silk lining topped by two layers of chiffon and then the ruffles are all made from the silk organza. The bodice is made out of the silk chiffon and I love the intricate pleat work that covers it and draws your eye inwards to the detailing. Down the centre front the dress is cut to be fairly sleek in feel with a v cut neckline and nipped in waist. It flows to the floor in a long column and there are ruffles that run down either side of the skirt. These ruffled panels run from the waist all the way down to curve out and around each side to the hem. The effect this creates is wonderful. The back is cut to be longer then the front so you get just the hint of a trained effect. Both the front and back plunge to the inner straight cut bodice and the straps are wide. They curve up and around the shoulder and then angle gracefully in towards the centre of the low back. The entire front is finished with a heavy application of little round glossy black circle paillettes that give the dress a subtle bit of embellishments and glitz. These are denser under the waist line of the dress and take on an almost chain mail feel yet they are very light in weight. The entire dress weighs ounces. It is so pretty and even better in person. It appears to have never been worn or worn very little. Excellent condition 

Fully lined in silk and constructed as described above. It closes with a hidden set side zipper. No size tag present. It appears to have been worn very little if at all. It retailed for over $6000 in 2009. Maybe a paillette missing here and there but nothing obvious. 

Bust: 17.5 " flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Bodice: 15" from top of shoulders to seam under bust
Skirt: 45" from was it to front hem, 50" to back hem

Modern Sizing Equivalent: SML-MED

Item# DD3783

Reference Photo: Resort 2009 Valentino Collection. Look 12.

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 absolutely incredible and one of the prettiest things I have seen lately. I love this dress. The fabric is a wonderful silk taffeta that has a romantic washed floral design covering its entire surface. The print is set onto the silk in a soft washed feel like a watercolour painting. The bodice is strapless and fitted to hug the body. Light boning at each side helps to hold it in place. The silk was then draped to closely follow your every curve. The fabric on the bust crosses over itself and gathers bring the dress in at one side to create the illusion that it has been wrapped around you. The wrapped illusion is made even more apparent by the wide ruffle that trims all of the edges. This wide panel os fabric follows the cur of the dress and curves around the hem and then back up. The form is shipped ups lslightly as a result for some leg to show and I love ow the hem is slightly asymmetrical as a result. The ruffle also acts to emphasize the curves and the shape of the dress. It has a very bombshell feel to it as a result. The waist is cinched in with seaming and a large flower made of the same fabric is nestled into the folds just under the bust for the perfect finishing detail. Everything on this dress is done to create that highly sculptural shape. It looks to have never been worn or worn very little. In person the colour is a bit more towards a dusty pinky red then the coral it photoed as. It is even better in person. Excellent condition

Fully lined in a pink silky rayon and closes with a hidden set side zipper. 

Bust: 17" flat across from side seam to side seam with an A to small B cup
Waist: 13" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Bust: 10" from top of waist
Skirt: 30" to the longest point at the back

Modern Sizing Equivalent: SML-MED

Item# DD3581

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

Leger worked for Karl Lagerfeld at Fendi and followed him to Chanel in 1983 when Lagerfeld took over there. In 1985 at the age of 28 Leger began designing under his own name for clients. His dresses were one of the stars of the nineties and were among the most coveted and iconic of the labels during that period of fashion. His bandage dress in particular were one of his strongest creations and the originals were only produced between 1989-1997. This dress is even more special as it is one of his couture pieces. A mannequin would be created based on the exact measurements of his client that the dress was made for and each is a one of made to fit that client exactly. In 1998 the company was sold to BCBG and the making of the bandage dress were halted along wth the dismissal of Herve from his self named brand. Dresses from this time period where he was making and designing the dresses himself are very rare and to find a couture one even rarer. It is a very special piece. I was very happy to find a version that walked the runway for the Fall 1997 show and the runway shots show you how it looks when in an actual body aNDA the shoulders worn off shoulder like they should be 

This dress combines that iconic striped bandage technique he used with a bias cut silk skirt and stunning lace and bead work. The bodice is made entirely using his famous bandage technique where elastic strips of fabric were sewn together to make girdle-tight foundation. The allows the bodice to mold and shape itself to your body and  create that perfect hourglass feel. The bandage portion the dress runs from the neckline to just past the hips. The bodice was then covered in a soft, fine lace that allows the nude coloured elastic underneath to peak through. From a distance this gives the illusion that you aren't wearing anything underneath the lace. The lace is held in place by vertical banding of beadwork that are set on slight angles to further add to the illusion of shape. More beadwork runs around the neckline and over the straps and then again t the bottom where the bodice meets the skirt. The front is shaped to mold over the breasts and the straps are set wide. On an actual body these can be worn more off the shoulder to leave the collar bones completely bare. At the back the neckline scoops down to leave the upper portion of the shoulders bare. The skirt is set in under that and flares out around you to move with your slightest movement. I love this contrast between the very fitted top and the more flowing skirt. The silk used for the skirt is light in weight and has no lining so it really moves wonderfully. It is stunning and a fabulous example of his made to order couture work. This is a dress that really needs a body to come to life and once on it will blow you away.  Excellent condition 

Unlined and closes with a hidden set back zipper. Tagged a M. The fabric does have stretch and it can expand but does still stay tight and fitted with the elastic interior. The range of measurements given below are of it laying flat but it will potentially stretch to a couple of inches more. 

Bust: 15-18" flat across from side seam to side seam
Waist: 12-14" flat across from side seam to side seam
Hips: 16-18.5" flat across from side seam to side seam
Length: 54" from off shoulder strap to hem, approx 57" once on

Modern Sizing Equivalent: XS-MED

Item# DD3581

Reference Photos: Fall 1997 Herve Leger Runway.

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 by 1989 he presented a 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. While researching this piece I found several photo references of different variations of the dress from both the catwalk and ad campaigns. I have included those here. I love this chic graphic version in the black and white. It is an exceptional example of his work from this time period.

The dress is exactly what you think of when you think Versace from this time period and it is instantly recognizable as his because of that famous ad shot. The dress is made from a very fine wool and it is the kind of dress that instantly demands your full attention. The dress is almost weightless once on the body, an effect achieved by the use of the finest, lightest wool that there was at the time. The shape is as simple as you can get. It is a simple shift that is meant to hang suspended over the body underneath. The simplicity of it perfectly captures the mood of 1995 and it allows that little check pattern to take the spotlight. The pattern is a series of small 1/2" squares and I love the care and attention to line the pattern up at the seams and back zipper. It is truly spectacular and that perfect combination of sexy and yet still innocent because of the easy to wear shape. If there was ever a dress proven to be supermodel worthy this one is it. This is a rare and very collectible Versace. Excellent condition

Fully lined in a black silky rayon and closes with a hidden set back zipper. I see a tiny run on the fabric near the side at the front and an even smaller one a little ways up from that. You would never see these once on. Please see the shots after the label shot. Otherwise it looks to have been worn very little if at all. The easy cut should allow it to fit a variety of sizes

Bust: 18.5" flat across from side seam to side seam
Waist: 18.5" flat across from side seam to side seam
Hips: 19.5" flat across from side seam to side seam
Length: 33" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# DD3578

Reference Photos: (1-3) Fall 1995 Versace Runway Collection (Look 46-Claudia Schiffer, Look 47-Nadja Auermann, Look 48-Naomi Campbell)  /  (4) Shalom Harlow by Richard Avedon for Versace Fall 1995.  /  (5) Stephanie Seymour by Richard Avedon for Versace Couture Fall 1994.

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 Bessi company was launched in 1950 but it was not until 1968 that it started producing the printed pieces that the label is now associated with. Like Pucci he signed all his prints and created them himself. In terms of style, construction and quality, Bessi dresses were often on par with Pucci and Leonard, especially the ones from the late sixties to mid seventies. This one is just lovely and I love it

This dress is made from a fine silk jersey and the colour combination is a little unusual as it is not the typical super bright prints that you more often see with Bessi. The main colour of the jersey is finished in a softer light purple colour. Worked into the print are little pops of different shade of pink. The floral and swirling design covers the entire surface of the dress. A contrasting border defines the cut of the dress and runs around the waist, up the front of the skirt and then defines the collar, cuffs and hem. The sleeves are cut long and I love that little pop of pink at their cuffs. The bodice is cut to skim over the bust with a V neckline. The waist is cut on the more loose and easy side and the skirt flows to the floor and widens softly as it reaches the hem. At the front there is a slit that runs up and in between the print there so that when you walk or sit you get a flash of leg. It also allows the skirt to have a bit more movement when you move. The silk jersey is very light and this allows the dress to drape beautifully on the body. It is a stunning dress. Excellent condition

Unlined and closes at the back with a painted metal zipper. Hand finishes throughout. The fabric is also signed throughout. The fabric has some stretch which makes it very comfortable to wear. Very well made and it looks to have been worn very little if at all

Sleeves: 23"
Slight drop shoulders: 17"
Bust: 17-20" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Hips: open
Bodice: 14.5" from top of bodice to top of waist
Skirt: 42" from top of waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD2143

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

James Galanos was just 27 years old when he launched his first label called Galanos Originals in 1951. By 1954 he had won a Coty award and the Neiman Marcus award. By 1958 he was producing clothing that could range in price from $200 to $3000, an astronomical price for ready-to-wear for that time period. when you convert that to modern dollars and realize that it would be just under 30k for his upper range pieces. Part of the reason for those high price tags was that his ready-to-wear was made to couture standards. The workmanship and craft put into them were made to a level that was on par with the official French couturiers. Galanos was a master cutter and draper. Grace Kelly was an early fan and other couturiers looked to his work as inspiration. His work is held in all of the major museums around the world and he is one of my personal favourite designers. I have had this dress in a version that had a sleeved overlay and I loved finding this one that has a more bare feeling bodice. It really allows the emphasis to be on that beautifully draped skirt 

The dress is made from a beautiful silk chiffon that is completely covered with an oversized flower print. The colour combination of the deep rich purple with the pop of deep green for the leaves in the print is just gorgeous. The skirt is cut to suggest that it is simply wrapped around you and could be unwrapped at any moment. It is attached most of the way around and then it simply hooks into place at the side of the waist. This clever little way to set it into the seam is what gives it that lovely curved line at the front. All of the excess fabric has been gathered along that side so that the silk cascades down in a lovely draped manner. The skirt is made up of thee full layers of silk chiffon. This is an important point in itself. Silk chiffon is notoriously difficult to wrk with and he was a master at this layering technique. The draped front lets you see all three layers and the edges of the three lates become their own design element. There is the top floral printed layer, a middle layer that is a solid purple in the same tone, and then the innermost layer that gives you that unexpected bright shot of green. When you move you get flashes of that green and the effect is fantastic. The bodice is simple and perfect. It has a slightly scooped neck and it cut into an say to wear tank that dips low at both the front and back. The dress comes with its long matching silk sash that you can wrap around the waist as I have done for these shots, or you could tie it at the neck or use as a head scarf. A stunning example of his work and beautifully finished. Excellent condition

Fully lined in a bright green silk chiffon. It closes with a hand set painted metal zipper. Bias cut so there is a little  with the measurements which I have given below. Ribbon edge finshes and hand done throughout. It appears to have never been worn or worn very little. The bias cut and easy fit combined with the sash to bring in the waist mean it should fit a range of sizes 

Bust: to 20" flat across from side seam to side seam
Waist: to 15.5" flat across from side seam to side seamed can be cinched in with the sash
Hips: open
Bodice: 16" from shoulder to waist
Skirt: 46" from waist to hem
Scarf: 15" x approx 140"

Modern Sizing equivalent: SML-LRG

Item# DD3576

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

Youseef Rizkallah joined the Malcolm Starr label in 1969 and remained as the head designer until 1975. The years that Youssef headed the line are among some of my favourites. While at Malcom Starr the piece that he designed pieces had  both his name and the Malcolm Starr International name on the label. Rizkallah was born in Egypt and studied at the Ecole de dessin appliqué and the Ecole des arts decoratifs in Paris. His designs seem to combine that sense of couture drama and cut that he learned while in Paris with the color and vividness of his homeland. This is the second time I have had this dress in the shop. The first time was an all gold and blue version and I am very happy to have this red and gold version this time.

This stunning dress is one of my favourite Malcolm Starr designs. In general I love the Rizkallah years. They have lots of drama and impact and this dress is a gorgeous example of his work. The fabric is gorgeous. A heavy dose of gold metallic thread covers an underlying pattern in corals and red, all on an light silk brocade feeling fabric. The effect is amazing. It is almost like wearing a piece covered in gold leaf. The dress at first glance looks substantial but in reality it is actually shockingly light in weight. It is just heavy enough to hold the shape and volume you see but it is so easy to wear. The bodice skims over the torso and is cut to be a little more fitted. The sleeves are capped and the waist line is set higher up to sit just under the bust. The front neckline is notched and plunges down to meet the band under the bust. Around the neck, the waist and at the end of each sleeve is a detailing of gold braid that has rhinestones set all along its length. I love the flat bow that sits just under the bust made from that same gold and rhinestone cording. The skirt cascades to the floor, widening out as it nears the hem, and I love the fullness of it. Pockets sit on each hip. The silk used is very lightweight and the fabric really holds the shape of the skirt beautifully. I love that it is lined in a soft coral silk. That unexpected flash of colour is spectacular against the gold. It is just a beautiful dress. Excellent condition.

Fully lined in a coral silk and closes with a painted back metal zipper. The inner skirt lining is finished with a wide band of dressmakers horse hair at the hem to help support and keep the shape of the skirt over it. Hand finished. The zipper will open easily if the sides are pulled apart but it stays up once zipped.

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: 11" from top of bodice to waist
Skirt: 42.5" from waist to hem with 2.5" turned under the hem

Modern Sizing Equivalent: SML-MED

Item# DD3746

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 dress by Pierre Cardin and I absolutely love it. There is a certain silhouette that is closely associated with Pierre Cardin but he was actually a designer that had a huge range. At times some of his other silhouettes get overlooked and they should not be. This wonderful Haute Couture example that I believe dates to the late seventies or early eighties. It is a beautiful and elegant piece that may not be as 'mod' in feel as some of Cardin's other pieces during this time period but shows the breadth of his talent and the high level of glamour that he was capable of.

The dress is made from a silk that has a dense application of hand placed sequins running over its entire surface. The colour of the sequins is a red that has a touch of an orange undertone to them. They are laid out flat side by side to catch maximum light. This gives the dress an almost molten feel that is stunning from every angle. The shape is kept very simple so that those spectacular sequins take centre stage. The front is cut onto a peak and then from that peak straps extend out, cross over themselves and then curve over each shoulder to meet the fabric at the back. The back is cut low and deep to leave a wide expanse of bare skin. It falls in a sleek column over the body and is brought in with seaming to shape it through the waist. It curves over the hips and stays fairly snug to the legs and then the bottom skirting flares out. That bottom skirt is a full 14" high and if you lay it out flat it is a true circle. The way it is set into the skirt lets it fall in soft curving ruffles all around you. When you walk it kicks out and has beautiful movement to it. The dress is very chic and very femme fatale. It is a dress that may seem unremarkable on a hanger but transforms into an insanely good piece once on the body. It appears to have been worn very little if at all. Excellent condition

Fully lined in a red silk and closes with a hand set back painted metal zipper. Hand set lining. It is cut on the bias so has some play in the measurements. The comfortable range is noted below. A tiny bit of patina on the back of sequins near the neck and at the very edges here and there. Very minor  

Bust: 15-18" flat across from side seam to side seam
Waist: 15-16.5" flat across from side seam to side seam
Hips: 18-21" flat across from side seam to side seam
Length: 7" from top of shoulder to hem with 1.5" turned under the hem 

Modern Sizing Equivalent: SML-MED

Item# DD3748

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

How absolutely gorgeous is this jumpsuit? It was made by Gino Charles for Malcolm Starr, which was their line targeted towards a more younger clientele. I love the colour combination with its two shades of pink mixed with that wonderful deep purple and white. The fabric is a cotton mix and it has a raised texture worked through the fabric that makes it quite interesting and makes the print pop off of it. The sleeves are short and the front is meant to skim over you. The waist is loose and easy and you could easily add a belt if you wanted more shape. I love the neckline and how it is slit down the front. The cut of it is highlighted further by a wide band of purple cotton velvet. To give it a little more detailing a band of grosgrain is set down the centre of the velvet and then a silver cord in the centre of that. This is all pieced to curve around the collar and then runs down the full front right past the waist seam. The pants are very full and flare out in a gentle swoop of fabric as they fall to the floor. Each is a full 36" around. At first glance it looks like full length dress but as soon as you move you realize it is a jumpsuit. Pockets along each hip. It is a beautiful and dramatic piece. Excellent condition.

Fully lined in a white silk. It closes with a back painted metal zipper. Each leg is a full 36" around the bottom hem. Hand finished throughout with ribbon edge finishes to parts of the interior seams. There is a good 3" turned up under the hem of each leg if you meed more length. It looks unworn on the exterior but there are some minor marks to the lining. Please see the last photo after the label shot. 

Shoulders: 13.5"
Bust: 17" flat across from side seam to side seam
Waist: 13" when measured flat across the back from side seam to side seam
Hips: to 21" flat across the back from side seam to side seam
Bodice: 15" from the neck to the waist seam
Pant length: 41" from waist to bottom hem
Inseam: 28"

Modern Sizing Equivalent: SML-MED

Item# DD3739

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

James Galanos was just 27 years old when he launched his first label called Galanos Originals in 1951. By 1954 he had won a Coty award and the Neiman Marcus award. By 1958 he was producing clothing that could range in price from $200 to $3000, an astronomical price for ready-to-wear for that time period. when you convert that to modern dollars and realize that it would be just under 30k for his upper range pieces. Part of the reason for those high price tags was that his ready-to-wear was made to couture standards. The workmanship and craft put into them were made to a level that was on par with the official French couturiers. Galanos was a master cutter and draper. Grace Kelly was an early fan and other couturiers looked to his work as inspiration. His work is held in all of the major museums around the world and he is one of my personal favourite designers. 

This dress is a showstopper. When it is off the body and laying flat it looks almost awkward but once on it completely transforms. It is strapless and the bodice is absolutely amazing to see in person. A brilliant blue silk has been covered with a gold metallic netting. Attached onto that is a dense application of gold sequins that are set to follow the pattern in the lace underneath. If that was not enough he then worked blue and iridescent beads in and among the sequins. These create a 3D feel as the pattern is raised off the netting. It is very elaborate and glamorous. Inside there is hidden boning and support built in so that once it is on the bodice hugs you like a glove. I love how the bodice extends down and past the hip and angles down on one side. This gives it a slightly longer line and more interest than it would have had if the waist was just cut straight across. It makes the break between the bodice and skirt softer. The skirt is incredible. It is attached under the bottom edge of the bodice and the fabric of the skirt has been completely cut on the bias. It is made of an incredible light silk that has been covered in a wash of gold thread. Parts of it has a denser application of the gold and the pattern this creates picks up on the pattern made by the sequins on the bodice. It drapes over your curves and moves with you as you move. It is so insanely sexy and so obviously couture that you will literally have your breathe taken away. If you have been looking for the ultimate dramatic statement dress this could just be it. Exquisite in every way. Excellent condition

The bodice is lined in a blue silk satin and has hidden boning and structure inside. The skirt has an inner silk chiffon skirt. It closes with a side set zipper. Ribbon seamed inner seams. Hand finishes throughout 

Bust: 18-19" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Bodice: 11" from top of bodice true waist
Skirt: 42" from waist to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3738

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 founded his label in 1967 and quickly was dressing women like Raquel Welch, Brigette Bardot, Tina Turner, Liza Minnelli, Sophia Loren, Marisa Berenson and many more. His label gained international recognition and was known for his bright, clear colour choices and daring cuts. He once said in an interview; 'When a woman has found her style, she should stick to it. We forget too often that it is the dress that must serve the woman and not the opposite.' He is one of my favourite designers to find and with all of the emphasis on recreating these looks from the eighties by many modern designers you can't beat these original vintage version on terms of cut, style and quality. 

I love how this dress combines the sexiness of the fitted strapless dress with the drama of that flared skirt. The dress is made out of a printed silk taffeta that combines a bold pink with a deep purple in a soft washed print that covers the entire dress. The silk keeps it light in weight but at the same time is the perfect choice to help to hold the shape and give the dress structure. The top portion of the dress has been gathered in soft folds from the bust to just past the top of the hips. The folds are set to help to highlight the hourglass shape of the dress. They have the illusion of being wrapped around you and they are set on dramatic curves to really emphasize the shape of the body underneath. The neckline is strapless and the top of it curves over the bust to make a sweetheart neckline. The centre plunges down and is set to perfectly meet where the draping crosses over on each side. Inside the dress there is one of his signature built in strapless bras for extra support. The waist nips in beneath this and the shape you see is created by the cut rather then having a horizontal waist seam to break the line of the dress. The gathers continue down and over the top of the hips for shape. Below that the skirt flares out in soft folds and volume. There are two layers of the skirt and this lets the skirt move with your slightest move. It is even better on an actual body. Excellent condition.

Fully lined in a pink silk and closes at the back with a painted metal and nylon zipper. The bodice is boned and there is a strapless bra set into the inner bodice. Hand finishes throughout that are to the demi-couture standards his main line pieces were made to.

Bust: to 17.5" flat across from side seam to side seam
Waist: to 14.5" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 34" from top peak of bodice to hem

Modern Sizing Equivalent: SML-MED

Item# DD3307

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

Without a doubt this is truly an exceptional piece of vintage Chanel and a rare find. It is a wonderful example of the work that the house of Chanel was creating during this time period. This would have been from right before Karl joined Chanel in an official capacity in 1982, however, in the couple of years proceeding his appointment as Creative Director, Karl was doing freelance work with them so you can still see his influence. The first Chanel Ready-to-Wear collection debuted in 1978 and many of the early pieces like this one were made to order. The main difference being that the pieces were sent pre-sized for the client to the boutique and then the final fitting was done in the boutique rather then at the Chanel atelier. I was pleased to have found a runway shot that dates the set exactly and this suit has the added historical provenance of being the actual suit that was worn on the red carpet by actress Sarah Catharine Paulson.

The suit in person makes such an impact. Far more then it does in the photos. The camera doesn't quite catch the vibrancy of the silk lame fabric or the texture of the chenille that details it. Both the jacket and the skirt are made from a rich red metallic silk lame. Onto that there is a black tufted chenille cord has been hand applied into a squiggle pattern. There is padding between the red lame and the inner lining and this gives it a quilted 'puffed' feel. The texture that this creates is incredible. The actual cut of the set is minimal and this simplicity really allows the fabric to take center stage. The jacket is done with that classic Chanel box cut. The sleeves are long and straight cut. There are three hook & eye at the very top of the neck to hold it closed and then it is open under that to the hem. The edges of the jacket have been finished with a band of the chenille cording to highlight the cut. There are no other embellishments and this simplicity lets it sit perfectly in place once on the body. It is cut to sit just past the waist line of the skirt and you can see how wonderfully it sits in the photos of Sarah. The skirt skims over the hips and then gently widens out as it nears the hem. The top of the waist is detailed with bands of the chenille and there are pockets hidden along the seams of each hip. The fabric is lighter then it looks so the set is very comfortable to wear. It has enough weight to it that both pieces hold their shape perfectly and it has a very sculpted formal feel to it once on. I love that you can wear the two pieces together or break it up and mix them with things from your current closet. It give its a lot of styling options and versatility. The jacket has the Chanel boutique label present and inside the skirt is a hand written / numbered label. It is made to demi-couture standards and almost entirely by hand. The numbered tape suggests that it would have been a custom ordered piece. Excellent condition

Full lined in a fine black tissue silk. Hand finished throughout. The jacket has three hook and eye near the top of the neck and the skirt closes with back hand set zipper. Hook and eye closure at the waist band above the zipper. Light padding in the shoulders of the jacket and pockets along the sides of the skirt.

Jacket
Sleeves: 22.5"
Shoulders: 16"
Bust: 20" flat across from side seam to side seam
Waist: 20" flat across from side seam to side seam
Length: 20" from neck to hem

Skirt
Waist: 14" flat across from side seam to side seam
Hips: 23.5" flat across from side seam to side seam
Length: 43" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3728

Photo credits: (1) F/W 1981 Chanel Runway Collection.  /  (2-3) Cherie, Owner of Shrimpton Couture, by Erin Leydon.   /  (4-6) Sarah Catharine Paulson in our Chanel suit attends the Costume Designer Guild Awards 2019, Styling by Karla Welch

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

True Haute Couture pieces by Chanel are an extraordinary find as they are so very rare and hard to come by. This one, like several other of the Haute Couture pieces in the shop at the moment, are from one of my clients whose mother purchased the majority of her Couture pieces between 1973 to the mid and late seventies. This particular set has the added provenance of having its twin photoed on actress Sylvia Kristel. We also found the original presentation photo from the couture collection that year and it shows you just how gorgeous this set will sit on the body once on. It is an incredibly beautiful example of the work that the Chanel ateliers were doing during this time period. 

The set is two pieces. A silk jersey dress that has incredible lines and then a matching silk jersey cardigan that is hand beaded. The dress is made out of two distinct layers. There is a complete inner dress made out of a silk crepe that is cut to skim over you and act as an inner lining. Attached to sit over that is a silk jersey exterior layer. The jersey is all cut on the bias and it is incredibly flattering. The neckline sweeps across the collar bones and sits wide at the front. A thin and open keyhole runs down the center of the bodice from just under the top of the neck to just above the waist. The waist itself is gathered into this elaborate circle that is entirely and meticulously made from hand set pleats. This creates a pretty and soft effect at the front. All around that circle is a series of soft pleats that span outwards. The back is cut onto a deep V for a little bit of skin to show. The skirt falls in a draped column and there is no seam at the waist so the line remains long and beautiful. Over this is a soft cardigan made from the same silk jersey on the exterior. Inside it has been hand lined in a matching red silk chiffon. All of the edges of the cardigan have been covered with beautiful beaded flowers and a border that is made from red and black glass tube beads. These would have been applied and created by hand by Lesage to the exact specifications given by Chanel. The bead work gives the design a slightly raised effect and they have a subtle glimmer in the light. I love this contrast between the bareness of the dress underneath with the coverage of the cardigan. It gives you two completely different looks to work with and wearing it with the jacket completely transforms the look and feel of the dress. It goes from a more bare and sexy dancing dress to something that feels more formal but still with that sense of ease created by the silk jersey. Both pieces are entirely made by hand as Haute Couture dictates and the fabric would have been made specifically for Chanel and this piece. This is a fine and rare example from this time period. It is truly brilliant and when you see it in person you will be astounded at the level of craftsmanship and care put into the construction. In excellent overall condition with notes below.

The dress has an inner attached silk dress and there is a wide grosgrain band that hooks to close at the interior of the waist, The inner dress zips to close under that and the outer dress buttons into place with a series of hand covered silk buttons in a matching fabric. The jacket is fully lined in a red silk chiffon and hooks to close down the front. Both pieces have been completely hand made. The label was removed at some point. There is a are some small marks that I have photoed. They may come out with a more aggressive or specialty cleaning. Please see the photos starting after the shot of the way it closes at the back.

The color in person is more a deep raspberry/ soft burgundy with a bit more of a red pink tome then how it photoed. The waist measurement is taken of the inner grosgrain band. You should be able to add to it if you needed more room and get another inch or two to work with. It is all hidden under the exterior dress so would be a very doable tweak.

Dress
Bust: approx 17" flat across from side seam to side seam
Inner grosgrain at waist: 13" flat across from side seam to side seam
Inner lining hips: to 18.5" flat across from side seam to side seam
Length: 60" from top of shoulder to hem

Cardigan
Sleeves: 23"
Slightly inset shoulders: 14"
Bust: 17" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Length: 25" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD3730

Reference Photos: (1) SS 1976 Chanel collection in Paris, January 23 1976.  /  (2) Dutch actress and model Sylvia Kristel in Chanel, January 27 1976.

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3724

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

L