Geoffrey Beene was one of the great American fashion designers and he was recognized for both his artistic and technical skills. He launched his label in 1963 and a piece from his very first collection landed the cover of Vogue. A Coty award followed a year later and in 1984 the Council of Fashion Designers created the annual Geoffrey Beene Lifetime Achievement award in honor of Beene's fashion legacy. This dress is from the Fall 1984 collection and we found an amazing editorial photo of it in the September issue of Vogue that year. It is one of my favourite things in the shop and it is even better in person. 

I am completely in love with this dress. It is so representative of his work and is just a gorgeous little dress in its own right. The silk that he chose for the dress is a fine silk taffeta that holds the volume and shape that he wanted while still keeping the dress light and airy feeling once on the body. The colour are a blend of a silver toned grey with a large black floral print over it. The sleeves are puffed and they have lots of volume built into them. The neckline is high and the bodice is cut to to be more fitted. Into the silver silk taffeta below the neckline there is an inset made out of a semi-transparent silk that has a metallic lame finish. This angles up into a peak at the front and then wraps around the sides. It goes from the top of the peak in height right down to the waist seam. Set along the angle of the front peak is a long panel of the same metallic silk chiffon. These extend out into extra extra long ties. You cross them over each other and then you can wrap them around your body. For the shots here I have tied them at the back but they are long enough that you could wrap them around you and tie at the front as well. Depending on how you tie them you will get a glimpse of skin through the inner front panel. You can style the ties to take advantage of that and show more of the transparent panel or tie them so that it completely covers it for a fully opaque feel. This play on transparent cut-outs is a staple of Beene's work as he progressed into the nineties and I love seeing it in this earlier piece. Below the waist the skirt falls to the floor in a cascade of silver and black. There are many yards of silk that have been used to construct the skirt so when you move you can really get a sense of its fullness. You could probably add an underskirt if you wanted it to be even fuller. Underneath the top layer of the skirt is built in silk chiffon underskirt that is edged  in a wide panel of black lace. The lace is finished with a curving scalloped edge and when you move or sit you get just a peek of it from underneath. Square polished buttons down the back are the perfect finishing touch. It is gorgeous. Appears to have never been worn or worn very little. Excellent condition.

The skirt is fully lined in a black silk chiffon that is edged with a wide panel of scalloped black lace at the hem. The bodice is also lined in a black silk chiffon. It close with a series of buttons down the back and a low back zipper at the waist. The inner waist hooks to close. Each sleeve has elastic in its cuff and they are cut wide and easy. The ties are attached at the front as described above. It appears to have never been worn or worn very little.

Shoulders: no defined seam
Bust: 18" flat across the back from side seam to side seam
Seam at low waist: 13.5" flat across the back from side seam to side seam
Hips: open
Bodice: 16" from shoulder to low waist seam
Skirt: 40" from waist seam to bottom hem

Modern Sizing equivalent: SML-MED

Item# DD1904

Reference Photo: Vogue, September 1984.

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

The Balmain transformation from what it was originally to what it is today began when they hired Christophe Decarnin. He was the designer that gave it its edgy feel that has continued to the present day under Olivier Rousteing, the label's current Creative Director. When the Fall 2008 collection showed Vogue's Nicole Phelps said in part: 'And as promised, Spring's haute hippie feathers, fringe, and tie-dye were replaced by an all-Billy Idol soundtrack and enough leopard-print chain mail, python-pattern denim, and crystal-embroidered lightning bolts to make you wonder if there was anything at all left on the shelves at Trash and Vaudeville. To be fair, Decarnin's creations are much finer than the East Village emporium's, but they appeal to a similar kind of chick, one with a killer body and an active nightlife.' The twin of this dress closed the show and it is perhaps one of the most memorable and significant pieces that Decarnin designed for the label. It was produced in very limited quantities and instantly sold out world wide despite a very hefty retail price. 

The dress is incredible and the skirts are all still their original lengths. I note that as I have only ever seen one other of these for sale and it had its skirts shortened at some point. The length is integral to the design in many ways. The skirt panels are incredibly long and light in weight so that when you move they float and billow around you as you can see in the runway footage. Above the skirts it is extremely fitted long curving bodice that is constructed to highlight your every curve. On the interior of the bodice there is a full boned corset with built in cups. The corset is cut to run from the bust to the top of the hips so that you are molded and shaped into place. On the outside the silk is hand draped and placed into position to form soft gathers that run around you. A huge zig zag bolt runs down the front. It is densely covered in crystals and it separates the prints on either side of you. The silk on one side is zebra and the silk used for this is a light scarf weight silk. The other side is finished in a black and white leopard print. On that side the silk is more of a silk faille and slightly heavier in weight then the zebra printed silk is. This change in weights of the silk is genius because it means that the way the silk moves in the skirts changes and you get more movement. The crystal covered panel that divides the two printed sides curves over just one shoulder and then runs down the front in the dramatic zig zag that you see. At the back it extends just past the shoulder and curves to the side. To close the dress Decarnin  has used one of the signature chunky Balmain zippers to divide the two prints. The zipper is set on a curve that follows the curve of your body and it becomes an incredible design detail in itself. The dress is fitted to the top of the hips and then the skirts flare out into long trains of fabric. The predominant part of the skirt is made from the leopard print and this is set on a curve at the hem that extends out to the side and to the back. There is a smaller panel at the front that is made out of the zebra print silk that also extends out and back. Where the two fabrics meet at the front side, they are only attached at the to and not together. This means that an opening is created that goes right up to the top of the thigh. When you move your entire legs shows. We have included the runway footage for reference so that you can see just how incredible it is when it is on and you walk. Excellent condition with a minor note below.

The inner bodice has a fully built in boned corset made from a nude colored lingerie stretch corseting nylon fabric that has built in cups and is finished by hand. The fabric is hand draped over this and the crystals and lightening bolt have been attached by hand. It closes with a curved set zipper that allows the form fitting construction of the dress. Tagged a 40. There are a couple of small repairs along the hem of the trained skirts. Some tiny pulls in the silk of the bodice. Please see the photos after the label shot. Hand finished throughout. The inner foundation garment does have some stretch. You might be able to squeeze out a bit more room when on a real body.

Bust: 15-17" flat across from side seam to side seam
Waist: 11.5-12.5" flat across from side seam to side seam
Hips: 16.5-17.5" flat across from side seam to side seam
Bodice: 33" from top of shoulder to bottom of inner foundation garment
Skirt: 28.5" from bottom of inner foundation garment to shortest hem, 53" to the longest hem

Modern Sizing Equivalent: XS-MED

Item# DD3115

Reference Photos: F/W 2008 Balmain Runway, Final Look.

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 rare example of Hanae Mori Haute Couture from the Spring 2000 collection. This dress is an especially  interesting couture example because it illustrates how couture pieces are made specifically for the client when they are produced and are not always an exact copy of what was shown on the runway. The dress itself is a sleeveless version of Look 7 from the Spring 2000 runway but the print on the silk was shown in the Fall 1990 Haute Couture collection. I have included a reference photo of both of those for you. I love the idea that the client had this dress made but somehow saw or remembered the print from a full ten years before this and asked to have it made in that earlier print. It just shows how much love and care goes into couture and how it is truly made for each individual client. Hanae was the first woman of Japanese descent to have presented on the Paris and New York Runways and the first Asian woman to be admitted as an official Haute Couture house to La Chambre Syndicale de la Couture Parisienne. Haute Couture examples by her are a rare find and this one is exceptionally beautiful. With its level of customization it is most certainly the only one that would have ever been made. 

The dress is entirely made by hand and is stunning. It is suspended from the shoulder by two tiny silk straps. These curve over your shoulders and meet the peaked bodice at the front and the dropped edge at the back. The bodice is hand draped to create soft folds that follow the curving angle of the panels. I love how she has mixed two shades of silvery greys there. The front is set in high peaks above the breasts and it dips at the front into a V. It then curves around the back to leave the upper back exposed. The silk hugs in and around the lower back. The skirt is set into that structured bodice giving it a touch of an empire feel. It has one of her custom designed prints screened onto feather light silk layers on both the exterior layer and on the inner dress. The print is a beautiful forested mountain scene that is done in grey-scale. This runs from the hem to to about the hips all around the dress. In the ivory above the forest print you see her signature butterflies floating on the imagined air currents. Some of the butterflies are almost ghostly in the way that they are printed onto the silk and they are incredibly beautiful. The scene is printed on both the silk chiffon top layer and the silk twill inner layer. This allows the two prints on each layer to be slightly offset as they float over each other giving the print an extra dimension of depth. Doing this layered technique is one of her signatures. By using a slightly transparent silk chiffon for the top layer she also builds in that sense of lightness that the dress has. The skirt widens out as it nears the hem as the front and has a softness to it as the chiffon floats over the inner layer. At the back it is cut longer then the front and flows down and past the ground beautifully. The movement and drama this creates is extraordinary. This dress came with a huge single layer silk chiffon shawl that has that same forest and butterfly print screened onto it. It is so large that it creates a caped effect if you decide to wear it simple draped over the shoulders. You could wrap and style it many different ways for different styling effects. It just adds to the air floating feel the dress has and it is wonderful to have this little extra bit of romance. The dress is a stunning example of her work and beautifully made. Finding her true couture pieces is rare. This would even make a beautiful wedding dress for someone looking for something non-traditional. Excellent condition

Fully lined in a hand set cream silk. It has a fully built in inner boned bodice that closes with its own independent zipper. A second hidden set zipper closes the exterior. The top silk chiffon layer of the skirt hides the zipper below it and closes over the zipper with her signature teeny tiny fabric covered snaps. An inner waist stay hooks to close. Hand finished throughout to Haute Couture standards. The proper Haute Couture label is present and it has its hand written couture tape underneath marked #C 1109 5.4.2000. There is the very faintest of tiny marks to the silk just below the waist line. Perhaps the tiniest of pulls to the fabric here and there and a small bit of scuffing to the inner lining of the train. Please see the photo after the label shot for the exterior mark noted here. All minor and other wise is appears to have been worn very little if at all unworn.

Bust: 18" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Hips: to 20.5" flat across from side seam to side seam
Bodice: 15.5" from top of bodice to waist
Skirt: 44" from waist to shortest point of front hem, 59" to the back hem
Shawl: 36" x 124"

Modern Sizing Equivalent: MED-LRG

Item# DD3020

Reference Photo: (1) Hanae Mori F/W 1990 Haute Couture Collection.  /  (2) Hanae Mori S/S 2000 Haute Couture Collection. (3-4) Cherie, Owner of Shrimpton Couture, by Erin Leydon. Cherie is wearing a Magnetic Midnight X Shrimpton Couture 'Shooting Stars' Headpiece - available on the site here >

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

This is a gorgeous little dress in a deep rich jewel toned burgundy velvet. The velvet gives it depth and the colour changes a bit depending on the light you are in from a deep deep burgundy to a lighter more ruby feeling tone in brighter lights. The cut is simple but has a lot of impact. It is cut to plunge extremely deep at the front. Two elongated triangles curves up and over each breast. A crepe tie runs through each of those at their tops and the wraps around and through the panels of velvet at back and then tie they into place. The front is left completely open on each side and it plunges between the triangle at the front to below the waist. At the waist there is another crepe tie that runs through the seam to tie and adjust it. There is also a hook so that you can choose to close the plunge at the waist and leave a keyhole under that or just use the ties to let the plunge go all the way down. At the back there are two long panels that run from the waist to the neck leaving the back almost completely bare. The skirt falls to the floor from there with just a touch of widening to it as it nears the hem. It's fabulous. Excellent condition 

Fully lined in a burgundy silk. It slips on to wear and you adjust the neck and waist with the ties. There is some fraying to the tie at the neck. Please see the last photo provided. Its cut should allow it to fit a range of sizes. 

Bust: variable - each triangle is 7.5" flat across at the widest part
Waist: to 16" flat across from side seam to side seam and can be adjusted with the ties
Hips: to 18" flat across from side seam to side seam
Bodice: 14" from top of bodice to waist
Skirt: 45" from waist to hem

Modern Sizing Equivalent: XS-MED

Item# E692

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 early 1930s dress that is the most striking jewel toned merlot coloured silk velvet. The colour is so dramatic and rich feeling. That, combined with the bias cut that it has and its lovely cut, make it one of the best thirties pieces I have seen in a while. It feel incredibly modern despite being almost 100 years old. The cut is stunning and everything you want from a dress from this era. The bodice is cut into a softly draped halter that curves over the breasts and plunges down at the front. Two velvet straps curve over each shoulder and run down to meet the low set seam at the back. This leave you bare across the back. The front plunges to the angled seam set under the bodice. The skirt is set into that seam and it is completely cut on the bias. There is actually several yards of fabric in the skirt but when you stand still it falls in one beautiful sleek column. It is only when you move that the amount of fabric that is actually there is revealed. It is well made and hand finished throughout. There is a B. Altman tag on the inter of the skirt. It is a beauty. Excellent condition with a minor note below

Unlined and closes with a side set metal zipper. I see one tiny repair on the interior of the bodice and there are some minor flattened marks on the back skirt. Please see the photo after the label shot. The bust has a lot of draped fabric so should work on a variety of cups

Bust: 16-18" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: open
Length: 62" from shoulder to hem but will come up a bit when on the body

Modern Sizing Equivalent: SML-MED

Item# E694

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# C536

Reference Photo: "The Malcolm Starr All Starrs" Ad, 1970.

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

The Western world in the twenties to fifties had a special fascination with the Far East and this highly influenced the fashion of that time period. Japan and China especially began to export and sell pieces made specifically for the tourist market that combined classic design elements of those respective cultures with a slight western twist to the cut and colors. You will often see the cropped jacket versions of these come up for sale but these longer pieces are a little harder to find and far more versatile. These were the most prized both then and now. This one is stunning and done in a high grade fine black silk with off white detailing to contrast the cuffs, collar, front and hem. Over this it is embroidered with absolutely brilliant colours. The pattern embroidered onto the silk with its combination of brights and pastel tones is exquisite. This one is a little extra special since it is an earlier piece and the embroidery work is done by hand. It is lovely and light which makes it so easy to wear. This one is not 100% perfect but still has lots of life left to it if you don't mind wearing vintage with a flaw or two. Presents as excellent condition at first glance but does have flaws as noted below.

Fully lined in black tissue silk, it closes with frog knots at the front. There is some shattering to the silk through parts of the ivory borders and an area around the bottom front knot that has shattered and torn. Slight grubbiness along the edges. The last two photos show examples of the areas described. It is in fabulous shape other then these areas. The loose cut should fit a range of sizes. This is sold in as found condition and as a final sale.

51" from the end of one sleeve to the other flat across
Bust: 21" flat across from side seam to side seam
Waist: 23" flat across from side seam to side seam
Hips: 25" flat across from side seam to side seam
Length: 45" from neck to hem

Modern Sizing Equivalent: XS-LRG

Item# C571

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

Bill Gibb was one of the most influential designers in 1970s Britain and his clothes were sought out and worn by the rich and famous. His work has a high fantasy element and he was crowned Designer of the Year in 1970. Much of his work verged on couture and he was unrelenting in striving for perfection. A dress from this same 1976 collection was photoed on Tina Chow by David Bailey for Vogue. I have included those reference photos here and you can clearly see the same ribbon detailing and pleating technique used on both pieces. His pieces were never produced in large quantities and this one is exceptional. I would not be surprised to find out that it was a one off and a custom piece. It is wonderful to have such a gorgeous example of his work in the shop.

This is an amazing example of his work. It is made up of two pieces. Inside there is a very long full length skirt. Over that sits that fantastic evening coat piece that has a built in silk part on the top and then flows to the ground in a cloud of netting. The inner skirt is beautiful. It is made out of a fine silk chiffon with a soft pink silk lining. The top layer of silk is knife pleated so that it has a lot of movement. It is detailed around the hem with a pretty ribbon finish made up of three stripes of silk satin ribbon in a pale blue, a pink and a mint green. This sits under the evening jacket that has a built in top that is made out of silk. The same striping detailed that the skirt has is used to edge the inner portion of the top. So you see the stripes on the skirt and the top through the netting of the jacket and it adds depth. The inner top is made from the same silk and chiffon combination as the skirt and treated with that same knife pleating technique. Attached and layered over that is the netted part. It is here that the high couture fantasy aspect of the piece goes into full play. The neckline is cut wide across so it almost sits off the shoulder. The fabric on this outermost layer is a fine ivory netting that has a stunning design of flowers and vines hand embroidered over it that covers it from shoulder to hem. I love how the pattern gets denser as it nears the hem. Each bit of that design is hand embroidered with a multi-colored pastel thread that has a metallic silver running through it. It is like wearing a work of art. The combination of the embroidery work and the metallic of the silver is incredibly beautiful and delicate in feel. All of the edges are finished with silver cording and there is a long tie of the same silver cording at the neck. The sleeves are even more incredible. They are cut extra long and each has an inner pleated base made out of a pale pink silk chiffon that is knife pleated like the skirt and inner top. Over this is a slightly more ivory toned silk netting that poufs out from the shoulder and is caught up just below the elbow. It then flares back out, widening as it reached the end of the sleeve. Each sleeve is densely hand embroidered with that same metallic thread as the body of the jacket. Long silver cords hang down from the seam at the elbow. No matter how much you might love the photos this one is even better in person. The workmanship in it has to be seen in person. It would even make a beautiful choice for a bride who is looking for an alternative to the traditional wedding dress or as a part of a wedding event. Excellent condition

Both piece are fully lined in a pale pink silk. The skirt closes with a metal and nylon zipper. The top slips on to wear with snaps and hook and eye at the very top of the inner most silk part. The colours in person are softer and bit more pink feeling in person. There is some light fading to one side of the skirt near the closures but its very minor. 

Skirt
Waist: 13.5" flat across from side seam to side seam
Hips at inner lining: to 20" flat across from side seam to side seam
Length: 44" from waist seam to hem

Top/Overlay
Sleeves: approx 31"
Shoulder opening: approx 17"
Bust: to 18.5" flat across from side seam to side seam
Waist- hips: open
Length: 25" from top of shoulder to hem of inner top, 58" from shoulder to the full length hem

Modern Sizing Equivalent: SML-MED

Item# DD3081

Reference Photos: (1-2) Tina Chow in an ensemble by Bill Gibb. Photographed by David Bailey for British Vogue, April 1976.  /  (3-4) Cherie, Owner of Shrimpton Couture, by Erin Leydon.

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

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

The twin of this dress walked the runway of the Fall 1994 collection. It is absolutely beautiful and every detail has been done by hand. The dress has a sculpted feel to it that is softened by the pale pink silk colour. It gets a second dose of romance with the lace finish that covers the inner pink silk. The pale pink lace is hand made. There is a floral design that has been worked through the lace and the each cluster of flowers are outlined with a fine silver metallic cording. On the inside of each flower there is a second detailing that uses a metallic pink silk cording. The hours to do this would have been staggering. Every stitch is done by hand and the work is meticulous. The cut of the dress gives is a regal feel. The neckline is scooped and the bodice cut to skim over you with just a suggestion of the waist above the seam that sits at the top of the hips. Under that the skirt is structured into two curving panels at the front. These cross over each other and the edges are curved so that when you walk you see a glimpse of leg. Two big soft pleats sit just below either hip and these add volume and lift. At the back the skirt curves around you and you see a repeat of the two pleats for volume. The centre of the skirt at the back has been split and a pale pink silk inset added. This panel of silk is pleated so that it expands and opens into an extensive train. A decorative row of hand made silk buttons run up each sleeve and then a series of them run down the back. This would be an amazing choice for a bride who does not want a traditional wedding dress or as part of a wedding event. Presents as excellent condition with notes to review below about the interior and panel hem.

The dress is fully hand lined in hand set pink silk and closes with a back hand set zipper behind the buttons. There is a hooked inner waist stay. Hand set snaps close the train over the inner zipper.  Each cuff zips to close behind the decorative buttons. Finished to Haute Couture standards and entirely made by hand. The proper Haute Couture label is present. The pleats have softened and the dress shows grubbiness and marks under and along the back hem and train. There is discolouration under the arms of the inner lining and one teeny spot where this shows through along the edge of the seam. Please see the photos after the label shot. My client had the side seams let out slightly by Madame Paulette's in NYC. 

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

Modern Sizing Equivalent: SML-MED

Item# DD3080

Reference Photo: F/W 1994 Nina Ricci Haute Couture

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

Zandra Rhodes is one of my favorite designers and it is always a treat to have one of her pieces for you. The print on this one is done in a metallic silver paint and I love the subtle rhinestone detailing on it. It is a very pretty piece and the colour absolutely pops in person. 

This is a very wearable dress that can be worn for day or evening and has a lot of options on how you can choose to wear it. The versatility comes from it still having its original wrapped fabric belt and a matching scarf. This gives you the ability to add shape or wear it loose and easy. You can switch out the belt for the scarf for a softer look or you can use the scarf as a shawl or as a head wrap. You could even tie it into a turban to get a very seventies feel. The fabric is her signature hand painted silk chiffon and is the prettiest blue bright clear ever with a print that combines a navy matte navy and a metallic silver paint. This top layer lies over a blue silk interior that feels wonderful when on the body. The dress has a loose and easy cut through the body to create a floating feel around you. This gives the dress a lot of movement. It is cut to skim over the bodice and then flows to an open and easy waist and then the skirt flares out. Without the belt it has an almost caftan feel to it and with the belt you can cinch it in to add as much shape as you want. The bodice has just a touch of detailing to highlight the print with hand applied sequin paillettes and beads at the front and a rhinestone trim around the edges. The sleeves are left unlined and are light and airy feeling with a ruffled effect finished edges. It comes with a matching extra long sash and a fabric belt. It is lovely. Excellent condition

The dress is fully lined in a blue silk through the body and a nude inner lining in the sleeves. It closes with a back zipper. The bead and sequin work detailing are hand applied. Comes with a long wide scarf and and a matching belt that is shaped like a cummerbund with light stiffening in the middle part of it. This dress may have been a custom order as it came from the same lady who custom ordered several of Zandra's pieces. It looks to have been worn very little if at all. I see two missing beads at the front and some of the tiny black beads above the rhinestone at the neck are missing. Very minor

Inset shoulders: 12"
Bust: 17" flat across the back from side seam to side seam
Waist: 15" flat across the back from side seam to side seam
Hips: to 19" flat across the back from side seam to side seam
Length: 55" from shoulder to hem
Sash: 5.5" at widest point x 80" long end to end
Scarf: 25" at widest point x 106" long end to end

Modern Sizing Equivalent: SML-MED

Item# DD3651

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

The twin of this dress in a red colour is held in the permanent archives of The Metropolitan Museum of Art and that red version was exhibited in the 'The Model as Muse: Embodying Fashion' Exhibit in 2009. The dress also has the added provenance of being the twin to the metallic version that Halston custom made for Bianca Jagger. I have included several photos of her for reference. Photos of her in the dress also appear in two of my Halston books and it is fabulous to have found this very versatile solid navy version. This is classic Halston from his main label couture line. It is one of the most instantly recognizable looks that he ever created because of the Bianca connection. It is an incredible example of his work from this time period. 

This is an amazing couture Halston dress and a very rare and special find. It is entirely cut on the bias and utilizes his signature minimal seaming. Halston defined how woman dressed in the 1970s and these jersey dresses that he did were tremendously flattering to the body. It is also insanely sexy while still being extremely comfortable to wear. The fabric is a beautiful deep navy silk jersey that moves and drapes beautifully. The dress is made to be one long tube with two extra, extra long ties that extend out from one end. At the front the fabric divides into two pieces to create the ties and this leaves a low V there. At the back the fabric dips in a graceful curve and the entire back is exposed to leave it bare. You can then wrap and tie those long ties in a variety of ways. I have shown a few ways to wear it on the dress form and I bet you could come up with more. Those ties make it incredible versatile and really it is like buying several dresses in one. They allow you to control how low the back dips and the the plunge at the front and this also allows you to control the overall length of the dress. You have the versatility to wear it with the ties wrapped around you for more shape through the waist or you can let the ties fall down the back so the the dress simply skims over the body instead of hugging your curves. It is spectacular. This is a rare example of Halston at his very best and it is easy to see why it would be favoured as a piece worthy of being in The Met. I would not be surprised to see the red version showcased in the upcoming Met Gala themed exhibit on American fashion. Excellent condition

Constructed from a single bias cut layer with the ties extending out from one end. The dress slips on to wear with no closures. It can be wrapped and tied several ways as shown. Hand finished. It is all bias cut which should allow for a larger range of sizing. I see a couple of tiny marks where the fabric has darkened a touch but nothing that would photo or that you see unless super looking. The fabric has stretch and I have put the comfortable range of measurements laying flat. You could probably get a little more if needed

Bust: the fabric is approx 16" flat across but there are no side seams so it will fit a large variety of bust sizes
Waist: 12.5-17"
Hips: 17-22" flat across from side seam to side seam
Length: approx 58-59" from shoulder to hem but you can adjust it up or down depending on how you choose to wear it 

Modern Sizing Equivalent: XS-LRG

Item# DD3651

Reference Photos: (1) c.1977 Halston Dress from The MET Collection Online.  /  (2-6) Bianca Jagger and Halston at The MET Costume Institute Dinner, December 12, 1977.  (5) From the book "Halston" by Phaidon. (6) From the book "Halston: An American Original" by Elaine Gross and Fred Rottman.

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 Hardy Amies label launched in 1946. In the beginning of his career, Amies' only did couture pieces and it was not until 1950 that he added a ready-to-wear label. The RTW label was still very high end and the pieces had a lot of the same hand finishes that the couture label had. In 1951 Amies was chosen to design some of the wardrobe for Princess Elizabeth’s tour of Canada. That led to Amies appointment as the Royal Dressmaker in 1955 after Elizabeth became the Queen. Hardy was known for his elegant lines and very high quality fabric choices. 

This dress is gorgeous in person and the photos do not convey the lightness of the fabric and how it will move once it is on an actual body. It is made out of a light weight silk organza that holds the colour on it exceptionally well. The fabric is very light but still has a structure to it that helps to hold the shape and lines of the dress. It is the perfect fabric choice to create volume without bulk or heaviness. The blue is lovely with a touch of a turquoise feel to it. Screened onto the silk is a print done in rusts and taupe. The dress itself is cut with simple lines. Tiny straps curve up and around each shoulder and the bodice is fitted under that. The waist nips in and then the skirt flows to the ground widening out from the hips so that it has quite a bit of volume to it. The skirt is made out of many yards of the silk with the top layer floating over an inner silk lining. All of the volume that you see is created by a combination of the way the skirt is set into the waist and the fabric choice. It is just lovely. Over the dress goes a little matching cape that simply ties into place at the neck and floats over the shoulders. It is cut to end just below the waist at the back and then curves around to come up just a touch at the front. The edge is finished with a six inch ruffle that perfectly picks up the skirt's shape and volume. It is just beautiful. Excellent condition with a small note to review below

The dress is fully lined in a blue silk and closes with a back painted metal zipper. There is a light spot near the front seam of the skirt that gets lost in the pattern. Please see the photo after the label shot. The cape ties at the neck and is unlined.

Bust: 17.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: " flat across from side seam to side seam
Bodice: 15" from top of bodice to waist
Skirt: 45" from waist to hem
Cape: 18" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD1586

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

Valentino knows how to cut a dress to perfectly flatter a woman's body. Few designers can come close to the techniques he perfected over the decades of his prolific career. This is a wonderful example of his work from the turn of the 1990s. I love that it has been done in his classic crisp true Valentino red. This is a colour that he perfected to be flattering on almost any skin tone. The dress has that perfect minimalist feel to it that the nineties epitomized and yet still feels modern and fresh. It is cut to skim over your curves in a way that highlights the body but is not meant to be too tight and constricting. The colour is absolutely fantastic. It is that perfect clear red that flatters most skin tones. I think it is even better in person then how it has photoed. If you know Valentino's work, then you know the exact shade this red is in person as this is one of his primary signatures. The dress is sleeveless and the side angle in towards the neckline. The top of the neck curves up over the base of the neck and below that is an open slit that runs down the front seam. It slowest just the barest bit of skin. All of the seam work on the body of the dress has been done vertically so there is no seams running across you at any point to break the line of the eye. When it reached the hem it flares out and the hem is finished with two layers of ruffles that circle around to the back. The back hem is cut slightly longer then the front so that you get a slight bit of a trained effect. When you walk the ruffles get kicked out and adds movement with your every step. It is just stunning on the body. Excellent condition with one small note below.

Fully lined in a red silk satin. It closes with a back hidden set zipper. Hand finishes. Tagged a Valentino 10. The fabric does have some give. There are some very minor marks on the back ruffled hem that you would never notice once on that would not photo. Mentioned for accuracy. The original price tag is still on the dress and was $3275 even back then.

Bust: 18-19.5" flat across from side seam to side seam
Waist: 16-17" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 57" from shoulder to front hem, 63" to longest point of the back hem

Modern Sizing Equivalent: MED-LRG

Item# DD3015

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 caftan is so striking and unusual. It has the feel of a mish mash of cultures and is one of those pieces that you will only find in vintage. It is made out of a red chiffon that has a small dot fused and embroidered into the fabric. Around the neck is a bib design made out of flat plastic beads that are hand sewn into place. The collar is high cut and set wide across the neck line. The beads follow the shape this creates and the white on the red pops. More white beads are scattered over the front of the caftan. Surrounding each bead is a detailing of little silver beads. These circle the white beads down the front and  create a complex pattern around the ones on the bibbed neckline. A large band of them run around each cuff. The body of the caftan is cut straight and loose, widening out gently as it nears the hem. The sleeves have a kimono drop before being brought in at the wrists. Each of the dropped panels is edged with faux pearls. Presents as excellent condition with minor notes below. 

Fully lined in a red silk through the body and the sleeves are unlined. It slips over the head to wear and each cuff hooks to close. The colour is a deeper red in person. I see a couple missing white beads at the back of the neck, minor wear to some of the plastic beads coating and a small spot on the back of one shoulder. There is a tear in the lining only that you see a bit through the top layer. The occasion missing bead or pearl. Please see the last four photos. The open cut should allow it to fit a range of sizes. 

Sleeves:25.5 "
Shoulders: 16"
Bust: to 21" flat across from side seam to side seam
Waist: to 21" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Length: 57" from neck to hem
Sleeve drop: 31" from top of sleeve to longest point on the drop

Modern Sizing Equivalent: SML-LRG

Item# E690

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 1951, 27 year old James Galanos launched his first label called Galanos Originals. 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. That said, his ready-to-wear was made to almost true couture standards and were made with a level of craftsmanship that was on par with the French couturiers. Galanos was a master cutter and draper and he used many couture techniques in the construction of his dresses and gowns. Grace Kelly was an early fan. His work is held in all of the major museums around the world and he is one of my personal favourite designers. 

This particular dress has the added provenance that its twin was worn by Nancy Reagan on two separate occasions. The first time was at a party in London where she was photoed with Douglas Fairbanks Jr and Princess Grace of Monaco. She then wore it again to the premiere of Annie in 1982. It was obviously a favourite and for good reason. The dress is absolutely gorgeous. It has a long slim cut with just a suggestion of shape through the waist. As it nears the hem it widens out just a touch and there is a high slit on the side that the shoulder is bare on. This allows you to walk and also lets a flash of leg show when you move or sit. It is lined with a very fine, high end red silk that feels like heaven over your skin. The top is angled up and over the shoulder. It is cut wide at the top of the shoulder and this curves over you and then dips down to follow the same angle at the back. The edge of the neckline and the arm are both finished in a small ruffle of the same silk faille that the rest of the dress is made out of. For detail he has added a gorgeous design that follows the angle of the angled front and back. The design is done to suggest leaves and grapes perhaps. It was created by utilizing a trapunto quilting effect where two layers of fabric are used, the underside of which is slit and padded, to produce a raised pouf effect on the top layer. It is a tedious method that would have added several hours to the dress to do this by hand. The dress is stunning on and the reference photos of Nancy included here give you an idea of how much it transforms once on an actual body. Excellent condition 

Fully lined in a red silk and closes with a zipper at the side. Ribbon edge inter seams. It appears to have been worn very little if at all. The colour in person is a little darker then how it photoed. In person it is between the colour of the shots here and the pics of Nancy in the reference photos 

Bust: 17.5" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 56.5" from top of shoulder to hem with approx 2" turned under
Slit: 26.5 from hem up

Modern Sizing Equivalent: SML-MED

Item# DD3649

Reference Photos: (1) Nancy Reagan with Douglas Fairbanks Jr and Princess Grace of Monaco at a party in London, 1981.  /  (2-4) Nancy Reagan at the premiere of 'Annie' at Radio City Music Hall in 1982.

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

This gorgeous dress is by Alfred Bosand who was really one of the great American designers whose clothes where made to couture levels with lots of hand finishes and detailing to them. Bosand started his career after World War II by attending the Fashion Academy, New York City. He then worked with several designers before launching his own label. By the time he returned in 1986 he was one of New York's last privately owned couture designers with his own label. His work is of very high quality. The dress is unlabeled but I have had a few dresses in the shop now that share this same fabric and cut. 

Bosand dresses always have a sense of romance to them and this dress with its matching caplet is no exception. Both pieces are constructed from a lightweight silk net that has little dots woven through it. The top netted layer sits over an inner silk layer that is a pale mint green with just a touch of a grey tone to it. The overall effect is not quite grey, not quite ivory and not quite green. The photos come close but in person it is more towards an off-white in feel. The entire top of the bodice is covered in a iridescent sequins that are all hand applied. They are set so that they are more densely applied towards the empire seam and then scatter up to the neckline. The dress is suspended from two tiny straps that curve over the shoulder. The bodice is kept simple with a low scooped at both the back and the front and a high seam under the bust. From the empire waist the skirt cascades to the floor and widens out quite a bit as it nears the hem. There are yards and yards of fabric in the skirt and it is made up of three layers, the top net layer that then floats over an inner silk chiffon layer. Under those two layers is an ivory silk satin lining. The dress comes with its original matching caped scarf piece. This has a built in collar that hooks to close and has the same sequin application over it. It is cut to end just at the empire waist seam at the front and then hangs with long panels that trail over each arm and around the back all the way to the floor. It is incredible and when you move it catches the air and moves beautifully. Excellent condition. 

The skirt is fully lined in an ivory silk satin with an additional layer of a pale green silk chiffon between the skirt layers. The bodice is lined in a silver grey silk. The cape is unlined. The dress closes with a back painted metal zipper and the cape closes with two hook & eye at the collar. Hand finished throughout. There is the teeniest bit of grubbiness feel to the straps.

Bust: 18" flat across from side seam to side seam
Empire waist at seam: to 16" flat across from side seam to side seam
Inner hips: to 21" flat across from side seam to side seam
Bodice: 12.5" from top of shoulder straps to seam under the bust
Skirt: 46" from seam under the bust to hem
Cape: neck is 13.75" around and you could move the snaps to get it to 14". It falls 12" at its shortest length at the front and 59"to the longest length

Modern Sizing Equivalent: SMl-MED

Item# DD3646

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 2011 Resort collection and was Look 29 of the presentation. In 2011 Valentino was headed by both Maria Grazia Chiuri and Pier Paolo Piccioli. They had stepped into Mr Valentino's shoes and were breathing new life into the brand. Vogue's Nicole Phelps said of the show; 'Maria Grazia Chiuri and Pier Paolo Piccioli have won the hearts of the Hollywood and social sets. For proof, one only need look at the red carpet—Sarah Jessica Parker and Dree Hemingway wore Valentino couture to the New York premiere of Sex and the City 2 and the Cannes amfAR gala, respectively.....Taking cues from both the late sixties (when Valentino Garavani was one of the first couturiers to use logos on ready-to-wear) and the current runways...for the eveningwear, in which cheery garden party florals slowly fade to black on the hems of sleeveless dresses and strapless gowns. Well, most of the eveningwear. There were a few perfectly pretty flower-strewn frocks for occasions when edge is out of the question.' This is one of those flower strewn dresses and it was an instant success selling out worldwide. It has the added provenance of Michelle Williams choosing its twin for the Golden Globes Red Carpet. 

This is the kind dress that you see in real life and it makes you swoon. As good as it looks on the red carpet you can also imagine it working as a wedding dress or part of a wedding event for a bride looking for something not quite as traditional. It is made out of a silk organza that is a light nude cafe au lait colour. This is layered over multiple layers of silk. There is an inner silk lining topped by two layers of chiffon and then a layer of solid silk organza between those and the very top layer. The detail and care put into it is just incredible. The very top layer of silk has been printed with that gorgeous daisy print that you see. It has been printed onto the fabric so that it appears to have been hand painted. These bright pops of white are fantastic against the nude silk and give the dress its fresh and romantic feel. At the front the dress is cut to be fairly sleek in feel with a v cut neckline and high waist seam. It flows to the floor in a long column and you get just a suggestion of the ruffles that you will see when you turn around. The back skirt is cut to be far more full then the front. It is finished with a double layered of ruffles that start at the base of the low back and then curve out on each side all the way 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. The back is cut right down to the waist to leave a bare expanse of skin showing. The straps are the perfect finish. They curve up and around the shoulder and then angle gracefully in towards the centre of the low back. Each is finished with a combination of 3D embroidered and white leather flower embellishments. 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 an off-set back zipper that is hidden along a side seam. No size tag present. It appears to have been worn very little if at all. It retailed for $7900 in 2011

Bust: approx 18 " flat across from side seam to side seam
Seam under bust: 15" flat across from side seam to side seam
Inner hips: to 19" flat across from side seam to side seam
Bodice: 14" from top of shoulders to seam under bust
Skirt: 48" from seam under bust to front, 50" to back hem

Modern Sizing Equivalent: SML-MED

Item# DD3648

Reference Photos: (1) Resort 2011 Valentino Collection Presentation, Look 29. Model: Tati Cotliar.  /  (2-4) Michelle Williams in Valentino at the 2011 Golden Globes.  /  (5) Resort 2011 Valentino Dress. Photo: netaporter.

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

Hanae was the first woman of Japanese descent to have presented on the Paris and New York runways and the first Asian woman to be admitted as an official Haute Couture house to La Chambre Syndicale de la Couture Parisienne. Her work is exceptional. Hanae Mori excelled at the beautiful prints that she created and they always have a hauntingly organic feel to them as she was constantly inspired by nature. This set dates to the eighties and is stunning.

This is a gorgeous Hanae piece. It has a wonderful custom designed print that is screened onto feather light silk for both the dress and the matching cape. When you wear the cape and dress together the two prints layer over each other and create the prettiest effect. This layering technique with silk chiffons is one of her signatures and she was a master it it by this point in her career. The silk chiffon she used has been printed with a pale tangerine and ivory pattern that is  set over a white silk lining. Using silk chiffon for both the top layer and the cape that floats over the dress is what gives the piece its light and airy feel. The dress falls from wide cut straps that curve over the shoulders and dips into a V at the front. From the neckline it skims over the body, with a more fitted bodice and then gently widens out until it reaches the hem. I love how the pattern changes and gets bigger as it nears the hem. Over this is a gorgeous little silk chiffon capelet. It snaps into place around the neck and then falls over each shoulder, with the silk overlapping a bit at the front and the back. A pretty spray of silver thread and rhinestones give it a little glamour at the front neck. It is a stunning example of her work and beautifully made. The colour in person is a bit more intense shade of what you see and is even better in person. Excellent condition

Fully lined in white silk and closes with a back zipper. The capelet snaps to close along the edge of the neckline. I see some very minor marks on the interior lining of the dress

Dress
Bust: to 17" flat across from side seam to side seam
Waist: to 13" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Length: 55" from top of shoulder to hem

Capelet 
Neck: 15" where the snaps are now but you could easily move them up or down as needed
Length: 46" from neck to longest point of hem

Modern Sizing Equivalent: SML-MED

Item# DD3643

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 1951, 27 year old James Galanos launched his first label called Galanos Originals. 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. That said, his ready-to-wear was made to almost true couture standards and were made with a level of craftsmanship that was on par with the French couturiers. Galanos was a master cutter and draper and he used many couture techniques in the construction of his dresses and gowns. Grace Kelly was an early fan. His work is held in all of the major museums around the world and he is one of my personal favourite designers. 

I love the coral and rust print that completely covers this amazing jumpsuit. It is very detailed and adds its own layer of interest to the silk. The silk chiffon fabric that he chose to use is very fine and light so that once it is on it feels like it weighs next to nothing. This creates a sense of lightness and airiness to the piece as it moves beautifully around you. Silk chiffon of this weight is notoriously hard to work with and the fact that he has structured this so beautifully is a testament to his skills as a designer. The top is cut with a simple scoop neckline at the front and the bodice skims lightly over you to the waist. The sleeves are cut long and each ends in a double ruffle of silk that has tremendous movement. The waist is seamed and you could add a belt to create even more shape or wear it loose and easy. The pants on this are truly amazing. Each pant leg is cut to be extra wide and full so that if you are standing still it appears that you are wearing a skirt. When you move you realize that they are pants and that each is wrapped around the leg and the edges where they meet is left open so that there is a slit almost to the top of the thigh. They only open as you move or sit. They are incredibly light in weight so you get this amazing billowing effect when you move. The pants are finished with a second layer of silk chiffon inside that is done on a solid red colour. So when you move the red flashes and it is fantastic. The cuffs on each sleeve are finished in the same way. It is fabulous. Excellent condition.

Fully lined in a red silk chiffon throughout. The top part of the jumpsuit buttons to close at the back and then zippers to close below the waist. Hand rolled and hand finished seams and edges. It appears to have never been worn or worn very little. Also after photoing this I feel like perhaps the buttons could also be worn at the front. I think you can wear it either way which makes it that much more versatile.

Sleeves: 26.5"
Shoulders: 16"
Bust: 20.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 19.5" from neck to waist
Skirt: 44" from waist to hem
Inseam: 36"

Modern Sizing Equivalent: SML-MED

Item# DD2759

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

I have had a one shoulder version of this Bill Tice dress that had the same gold lame flower detail but this is the first time I have seen this exact design. The dress is not 100% perfect but I am hoping that its amazing design will still tempt someone to give it a second life and love it. It is made of a liquid nylon jersey that feels amazing on and has the added bonus of traveling very well. It is the kind of piece you can throw into your suit case and slip on with either flats or heels when you reach some far off destination and be ready to go. The dress is cut to be long and slim but in a loose and skimming over the body kind of way. The sleeves are long and they start off with a big poufed shoulder created by gathering in the fabric in soft pleats around the arm. They then slim down as they reach the wrist and the edge is trimmed with gold lame piping. The neckline plunges extremely deep and is anchored by one of his twisted jersey and gold knotted flowers. There is a little hook about 2" inches above the flower if you want to be a touch less scandalous but I left it with the full plunge open for these shots. The dress gathers up and into the knot and this allows it to be more to the open and loose side around the waist and hips as the jersey drapes down and around your body.  A slit runs up the front from the curved hem and this allows a bit of leg to show when you walk or sit. Besides the knot and cuffs, the neckline and arm seams are also accented by a touch of gold lame. Excellent condition with one flaw noted below. 

Unlined and slips on to wear. The easy fit should allows it to work on a variety of sizes. The fabric has a bit of stretch. There is a run on the jersey on the front left side. Because of the way that it folds and wraps it at first glance just looks like a fold. Completely wear able if you don't mind that it is not 100% perfect and priced at 1/2 of what it would be without this small flaw. The measurements below are lying flat without stretching the fabric 

Sleeves: 24"
Shoulders: 15"
Bust: 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 58" from neck to hem
Slit: 29" from lowest point of hem up

Modern Sizing Equivalent: SML-MED

Item# DD3644

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

Many people do not know that Emanuel Ungaro took a position with Balenciaga in 1958 and in 1960 he became the chief designer of the house, staying there until 1964 before he briefly went on to Courreges before opening his own couture atelier in 1965. The Ungaro label has fallen from its former glory of the sixties through to the eighties, but in its heyday, the label was a force in the world of Haute Couture.

This dress is a wonderful example of the range that Ungaro had. He had a brilliant way of using of print and colour that he combined with soft fluid tailoring. This gorgeous little day dress is simple in cut but it is gorgeous once on an actual body. These little day dresses are often underrated when it comes to Haute Couture but they should not be. They are beautifully made and the quality is beyond anything you will find in modern RTW. The dress is made out of a fine high end silk that has a lattice and floral print covering its surface. Pastel peaches and taupes cover a white backdrop for a pretty and refined feel. I love the very full balloon cut sleeves. Each billows out above the cuffed wrists and takes the dress a step up from the classic day dress. The neckline is high and yoked across the shoulders with soft gathers. It skims over the bust and then a silk tie runs around and through the waist. This allows you to wear the dress with a loose and easy shift dress feel or you can cinch it in for added shape. The skirt has two little slant pockets that sit on each hip. The fabric is very light in weight and backed in a fine silk. It is made by hand to Haute Couture standards and is even better in person and on an actual body. Excellent condition with one small note below

Fully lined in a hand set silk of very high quality. It closes with a hand set, painted metal zipper and hook and eye at the back. Each cuff has a fine hand set zipper and hook & eye. The belt is partially attached and snaps into place to close. There is a small amount of shattering under each arm of the inner lining. It appears to be stable and does not affect the exterior. Please see the shot after the label shot. Done by hand to Haute Couture standards. Proper Haute Couture label present and the tape is numbered under label #H205-5-74

Sleeves: 25" approx.
Shoulders: no defined seam
Bust: to 20" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Bodice: 14.5" from shoulder to waist
Skirt: 28" from waist to hem

Modern Sizing Equivalent: SML-MED

Item#DD2522

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 a variation of several of the looks shown on the runway for the Spring 2007 Prada collection. I have included three of those for your reference. You can see the progression from those to this version of the dress that would have been produced for their retail shops. The review for the Prada show for Spring 2007 on Vogue.com noted the sharp change in direction from earlier seasons. In that review Miuccia noted of her reasoning for the change and talked about her inspirations: "Because Prada felt like it..... I just wanted it to be about fashion," she shrugged backstage. "The importance of fashion." The review continued saying "Still, this collection held an image of a powerful woman at its center, filtered through unmistakable references to Yves Saint Laurent (his "forties" collection from the seventies; a touch Loulou de la Falaise, to be precise). These were not random choices; in fact, they are two of the underlying constants in Prada's work. One thing she despises, though, is the over-interpretation of her motives; instinct and spontaneity guide her just as much as intellectual reasoning. She laughed at one journalist's anxious questioning about the short pieces, saying, "I just didn't like anything I did below the waist." Meaning, "Don't panic, these are tops." And, like everything else in this richly provocative show, they're going to look totally wearable in a store come spring."

This stems from one of those short pieces referenced above and it was indeed made slightly longer for the shops. The dress is made out of a burnished gold silk that has a satin like finish to it. The fabric has been treated so that it has a bit off stiffness to it. This allows it to hold the shape and fullness that Miuccia was after in these looks. The sleeves are capped and slim. They jut out from rounded shoulders at their tops and then curve out from the waist at their bottoms. The neckline has no collar and swoops down into a low plunge that is squared off at its base with that gorgeous knotted detailing (this same knotted detail was found on some of the silk satin turbans produced for this collection as well). The waist seam is raised and set a little higher up to give it an empire feel. I love the fullness of the skirt. It is cut into a babydoll silhouette that sits up and away from the body. It is the same effect that the runway pieces have but with a longer skirt to make it easier to wear on its own. It is gorgeous and I have its twin in another colour in my personal closet and it is still one of my favourite dresses ever. Excellent condition 

Unlined with ribbon finished edges and closes with a hidden set zipper at the side and two little snaps over the zipper. Tagged a Prada 42 and appears to have been worn very little if at all. 

Shoulders: no defined seams 
Bust: approx 17" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 10" from top of bodice to centre seam at waist
Skirt: 23.5" from centre seam at waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3640

Reference Photos: S/S 2007 Prada Runway (Look 1, 2 & 47).

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

This is an iconic and classic look from the Rive Gauche collection. I have dated this one to the 1977 collection based on the version of the label and print that is similar to the one in the reference photo I have included here. That shot was used for the ad campaign that year.

These are so easy to wear and very comfortable. You just slip this on and you are ready to go. This can also be belted to add shaped and bring the length up which gives the dress a lot of versatility and styling options. They are a play on the smock style dress combine with that classic Yves Saint Laurent signature style of this time period. This one is made out of a scarf weight silk that is a soft and fluid silk. Around the neckline is a black cotton velvet bib that is edged with cording and closes at the very front with five glossy black domed buttons. The sleeves are full and ballon out above their velvet trimmed cuffs. The body of the dress is cut loose and easy with a low dropped seam to separate out the skirt and to tie all the velvet parts together. The skirt is constructed with lots of fullness so that it has a little extra swing. It really transforms when on an actual body. This is classic YSL and a great piece of fashion history. Excellent condition

Unlined and slips on to wear. Buttons at the neck with five button and loops. Pockets on each hip t the seams. tagged a 36 bit the cut is generous so should fit a range of sizes. Meant to be oversized on the body. 

Sleeves: 24"
Shoulders: the velvet part is 14" and there are no real side seams on the silk part
Bust: to 24" flat across from side seam to side seam
Waist: to 26" flat across from side seam to side seam
Hips: to 24" flat across from side seam to side seam
Length: 45" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# DD3639

Reference Photos: (1) F/W 1977 Yves Saint Laurent Rive Gauche.  /  (2) Yves Saint Laurent, L'Officiel, 1981.

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 1951, 27 year old James Galanos launched his first label called Galanos Originals. Just three years later in 1954 he won both the 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. His ready-to-wear was made to couture standards and with a level of craftsmanship that was on par with the French couturiers. Galanos was a master cutter and draper and he used many couture techniques in the construction of his dresses and gowns. Grace Kelly was an early fan. His work is held in all of the major museums around the world and he is one of my personal favourite designers. 

Here we have a piece that dates to the late 1970s or early 1980s. It is absolutely gorgeous and as good as it looks in the photos, it is even better in person. The texture and quality of the fabric is remarkable. The skirt is cut to be one long and lean line. It has a high 19" side slit that allows for a good amount of leg to show and for you to be able to walk. The cut is curved and fitted. The fabric is very unusual. It it is a black silk jersey that has a puffed 3-dimensional quality to it. This unusual finish has been created by hand stitching the top layer into the bottom layer to  create the puffed pattern that you see. This extra volume adds incredible texture to the dress and it contrasts perfectly with the pleated bodice. There the fabric has been seamed with teeny little pleats that are all set on a curve. These are then hand gathered and placed over the inner corseting so that the bodice wraps and curves around you. He then inset a curved panel of black lace into the bodice. The lace is not backed with a lining so that it is transparent and allows your skin to peek through. This curved bit of lace begins just off centre between the breasts, curves under the bust, around your waist and then runs halfway down the low back to expose a sliver of the waist and hip. It is very sexy. Two skinny straps extend out from either side of the lace at the top and curve up and over the shoulder. It appears to have been worn very little it at all. Excellent condition

Fully lined in a black and metallic stretch silk jersey through the bodice and it is lightly boned and formed. The fabric of the skirt is self-lined and the interior seams ribbon and piped finished. It closes with a side zipper. All hand work inside.

Bust: to 17" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 59" from top of straps to hem

Modern Sizing Equivalent: SML-MED

Item# DD2510

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 exquisite Christian Dior Couture dress was designed during Yves Saint Laurent tenure at the house. It is from the Fall 1959 collection and comes to me from the grand daughter of the woman who owned it. Prior to her passing she had donated many of her things to one of the major museums in the US but had held this one back. Which to us feels like this one meant something a little extra special to her. This is a couture piece that would have been ordered through I. Magnin's couture salon, made to her measurements at the Dior ateliers and then sent to the US. The theme of the 1959 collection was the 'new woman' to hail in the advent of the new decade. Audrey Hepburn famously sat in the front row of the show. Yves mentioned the skirts in the collection specifically saying 'The secret of my silhouette is on the skirt and the way it is worked'. Many of the evening pieces had this high low cut skirt in several variations so that you get a glimpse of the leg. Vogue said at the time that it was 'the most French collection in Paris'. This dress is a variation on the highly documented strapless version of it that was presented in the show. The model name of the dress is 'Labia' which is scandalous in itself. The dress was photoed on China Machado, appears in the Dior coffee table book published by Assouline. House muse Victoire wore it for Vogue that September. We even found one of the original sketches of the dress and the dress was a part of the 2015 exhibit at the Bowes Museum. The exhibit, Yves Saint Laurent: Style is Eternal, was done in collaboration with the Fondation Pierre Bergé and was the first exhibition in the UK to present a comprehensive display of the French fashion designer's work and life. This version has the identical cut to the strapless one but my client's grandmother ordered hers with the amazing poufed silk taffeta sleeves that set to sit off the shoulder. 

The dress is extraordinary and is a testament to master techniques used in couture construction. It is made out of a black silk taffeta that is feather light yet holds and retains the intended shape. The bodice is fitted and comes up slightly at the front in a soft curving line. Inside the the bodice the work that creates its foundation is exquisite. There is a full boned inner bodice that wraps around the wearer and holds the dress in place. This inner corset hooks into place and then the exterior dress zips over this. The sleeves are attached along the side and each is a work of art on its own. There is hidden netting placed between the layers of the silk that hold the sleeves up and off the body and give them the incredible volume that you see. The sleeves are the only detail that differs from the runway model and I love them. I think they are an extremely clever addition to the dress and add even more drama and balance the skirts better then it is without. I love the gathered silk at the top of each sleeve that add that little extra detail at the top of each shoulder. They are cut to leave the shoulder exposed and bare. The skirt is set to feel full at the front and there is an exaggerated, almost empire feel there with multiple soft gathers that bring the fabric in towards the waist and create the fullness that you see. The skirt is cut to fall shorter at the front and then curves around and down to trail out behind you. The bottom edge is finished with a handmade French Chantilly lace. Under the skirt are multiple layers of silk tulle that are also finished with that same chantilly lace edging. These fall in just slightly different lengths around you and add both volume and also fill the inner space under the skirt. The silk taffeta is so light that when you walk the skirt has a billowing effect behind you that it just magical. Around the waist is a wide flat bow that cinches you in and adds a pretty touch of romance. The matching shawl is long and rectangular in shape with three sides of it edged in the same wide panels of Chantilly lace. All of the work on it is to Haute Couture standards down to the hand finished inner seams. This is truly a once in a life time dress and one of the most well documented pieces of Yves time at Dior. It is extraordinary to have the connection to both China Machado and Victoire Doutreleau along with all of the other documentation on it. Excellent condition  

The dress is made to couture standards. The bodice is interlined with a combination of muslin and silk and then there is a full boned and lingerie net corset attached. The corset closes with a series of lingerie hooks and the dress zippers to close over that. Each sleeve has netting between the exterior and the lining. The belt is partially attached and hooks and snaps into place. The inner skirts are made from multiple layers of a netting silk tulle edged with hand made French Chantilly lace. Hand finished inner seams. Appropriate numbered couture label for a couture piece ordered through I Magnin for this time period. I see one small repair to the silk net in one of the inner skirts but otherwise looks to have never been worn or worn very little. There is a panel on either side of the hooks that looks to be a later addition to expand the size of the dress. There is some machine working one side of where the sleeves attach. The family always remembers the sleeves being on the dress that may be a later reinforcement. All the work is otherwise done by hand to Haute Couture standards. Sourced from the grand daughter of the original couture client 

Bust: 17-18" flat across from side seam to side seam
Waist: 13-14" flat across from side seam to side seam
Hips: open
Bodice: 8" from top of bodice to waist
Skirt: 31" from waist to shortness point on the front hem, 58" to the longest point at the back hem
Shawl: 21" x 86" including the lace edging

Modern Sizing Equivalent: SML-MED

Item# DD3638

Reference Photos: (1) China Machado wearing the Labia dress, photographed by Richard Avedon, August 1959.  /  (2) Previous photo as seen in the book "Dior: Yves Saint Laurent. 1958-1960." by Assouline.  /  (3) Victoire in paper-thin silk taffeta gown with raised hem in front with deep lace ruffles and lace stole by Yves Saint Laurent for Dior, photographed by Irving Penn, Vogue, September 15, 1959.  /  (4) Christian Dior, 1959.  /  (5) Bergdorf Goodman Custom Salon sketch of a House of Dior black evening gown, Christian Dior, Inc., 1959, from the FIT Collections.  /  (6) Christian Dior A/W 1959 Labia gown, Bowes museum 'Style is Eternal' exhibition.

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

As a collector it is always nice to have museum validation to know that you are buying an important and relevant piece. For this Pierre Cardin short set I found similar examples that share the same grommet detailing that are held in the Goldstein Museum of Design. I have only seen one other short set like this many years ago and it was in a darker colour. I think that the bright yellow colour of the two pieces make it even more fabulous and collectible. It is a fantastically fun piece to wear.

There are two pieces to this set. The top is cut into a sleeveless tunic and then there is a pair of shorts that are worn underneath the tunic. Both pieces are made out of a textured linen and silk that give is the perfect summer feel. The colour is extraordinary. It is a bright sunny yellow that you cannot miss. The shorts are simple in cut with sleek flat front and easy fit. They simply slip on and zip up the back. They are cut straight and full. Over this goes the tunic and it also slips on and zippers up the back. It is cut to sit loose on the body with just a suggestion of shape through the waist. The neckline is notched at the front and it sits quite low. Huge gold coloured grommets are set all the way around the collar and down each side of the front opening. Each of the grommets has an open centre so that you get a dot of bare skin showing through. A second high notched slit runs up the centre seam from the bottom of the tunic hem. The two slits balance each other out nicely. On each hip there is a big oversized top set pocket that give the set that classic Cardin feel. It's the perfect finish to this spectacular set. Excellent condition with a minor note below.

Both pieces are fully lined in a yellow silk. Each closes at the back with a painted metal zipper. The grommets have mottled as they aged. This patina is a natural occurrence of this age. Please see the photo after the label shot. The colour is a bit more saturated in person. 

Tunic
Bust: 19" flat across from side seam to side seam
Waist: 17.5" flat across from side seam to side 
Hips: 20" flat across from side seam to side seam
Length: 28.5" from neck to hem

Shorts
Waist: 13.5" flat across from side seam to side seam
Hips: 20.5" flat across from side seam to side seam
Length: 13" from waist to inner seam
Length: 15" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD2896

Reference Photos: Pierre Cardin 1958-1962 Dress with Belt & c1960s Pantsuit - both from the Goldstein Museum of Design.  /  1960s Pierre Cardin (credit unknown)

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

In 2005, when this coat came out, it was an instant must have on everyone's wish list and the coat instantly sold out worldwide. Only a limited production was done of the coat and they are virtually impossible to find. They were so scarce and hard to find and so iconic that in 2018 Christopher Bailey was inspired by his own work and sent a tweaked version of the 2005 coat down the runway. For me this collection really marked the point where Christopher Bailey came into his own and really started to push and raise the bar with Burberry as a whole. Vogue's Sarah Mower said in her review; 'Accolades go to Christopher Bailey for being one of those rare young designers who can orchestrate the components of a collection—clothes, accessories, brand identity—and infuse it all with a sense of lightness, as well as originality. At Burberry, he said, "the whole thing is to look as if you've just thrown it on". This coat was mentioned in particular; 'Take Bailey's constant reinvention of the iconic trench: Now, it's a puff-sleeved smock' and on the print; 'Bailey makes sure to add in some Britishness; this season, with Wedgwood blue-and-white and Clarice Cliff Deco ceramics for print inspiration'. On the runway its twin was shown belted on the beautiful Gemma Ward and was presented for look #6 in the show 

The coat is a play on a trench coat. It has some the classic trench coat elements to it but Bailey has played with the proportions and cut the coat to have a far more dramatic smocked baby doll feeling silhouette. It sits across the upper shoulders with no defined seam there so it has a lovely drape. The rest of the coat swings out from there with remarkable fullness. Panels runs across the shoulders at the front and the back for that nod to the trench and they are held in place with big mixed gold metal buttons. More of the same buttons run down the front. The sleeves are cut wide and each ends in a very wide open feel. There is a low dropped seam at about the hip line and the bottom portion of the coat is set into place with series of soft gathers that give it even more volume. Top set pockets sit on either side of the hip. It does all the way up at the front and I think you could have it play double duty as a dress. It could easily be worn closed to pull this off and you could also belt it if you wanted more shape. The fabric is amazing. It is a high end linen that moves very well while still retaining its intended voluminous shape. The print is stunning and covers the entire coat. Scattered in and amongst the flowers is the Burberry name written out in script. It is a gorgeous piece. It looks to have never been worn or worn very little. Excellent condition.

Unlined and made from a logo embossed printed linen. It closes with the buttons at the front as shown. Tagged a size 42. It is meant to be oversized on the body. The loose and easy should fit a range of sizes

Sleeves: 23"
Shoulders: no defined seam
Bust: to23" flat across from side seam to side seam
Waist: open
Hips: open
Length: 43" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# C568

Reference Photos: (1-2) S/S 2005 Burberry Runway. Model: Gemma Ward.  /  (3) Karen Elson for S/S 2005 Burberry Ad Campaign.  /  (4) F/W 2018 Burberry Runway, Look 57, Model: Milena Ioanna.  /  (5) F/W 2018 Burberry.

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 actually part of the Intimo Couture line by Valentino so would have been meant to be a robe but I think someone could get away with wearing this as an amazing outdoor coat and playing on the men's bathrobe feel that it has. The coat is made out of a super soft mohair that is done on a muted pastel mix of pale blues, creams and taupes. The pattern is an over-sized plaid that covers the entire robe. Inside the coat is lined in a soft, pale blue silk that gives it a pretty flash of colour when you move. The soft lines of the piece make it very comfortable to wear. The cut is a play on a men's bathrobe. The collar is rounded and soft and it is finished in a pale blue satin. Each sleeve is cut extra long and you can wear the cuffs down and keep that long feel or flip them up. When they are flipped up you see that each cuff is backed in the same soft blue satin as the collar. The sleeves are cut straight and wide. It has its original tie belt in a matching mohair and you simply wrap the robe around you and tie it into place with the belt. Pockets are hidden along the seam of the hip on either side. It is gorgeous and cuddly and wonderfully made. It looks to have never been worn or worn very little. Excellent condition.

Fully lined in a place blue silk and wraps to close with the belt. The cut is very forgiving. It should easily work as an over-sized garment on a smaller girl and will work equally well on a larger frame. Pockets on each hip. Some light scuffing to the silk lining. Tagged a large. It is more a blue and ivory in person then the taupe it photos as

Sleeves: approx 24 cuffed and 28" without
Shoulders: no defined seam
Bust: to 27" flat across the inside back from side seam to side seam
Waist: open
Hips: open
Length: 56" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# C569

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

Koos Van den Akker started his career as an apprenticeship with Christian Dior in the late 1950s. This early exposure to Haute Couture influenced all of his work for the rest of his career. He was a designer that started from the fabric, allowing it to influence the final design. This love of textiles runs strongly through his pieces and he is particularly adept at mixing and matching prints. His best pieces have a collage patchwork feel to them. This s an exceptional piece as much for its representation of his work and also just because it is gorgeous 

This amazing wrap piece is made out of several different soft cotton prints that have been pieced together in a bold patchwork collage that highlight the different components of the design. It is so easy to wear and I love that you can choose to wear it as a dress or use it to layer over or under other pieces and treat it like a light weight coat. It is long enough that it would layer perfectly over the pants and adding a wide legged trouser would give it a while new feel. It is equally as good on its own as a dress or a coat. It has a wide collar and it is loose cut through the body. Each sleeve is cut very wide and full. You can definitely see the nod to the Kimono and Yukata in its cut. It comes with its original sash that is made out of the same various prints and is very wide at the middle with long extended ties. It is very chic and very versatile. Excellent condition

Unlined and slips on to wear. It wraps and ties with the matching sash. Pockets on each hip. It appears to have been worn very little if at all. Tagged an XS but its loose and open cut should fit a variety of sizes. A teeny mark near the front hem

Sleeves: approx 19"
Shoulders: no true shoulder seam
Bust-hips: 25" flat across from side seam to side seam
Length: 47" from neck to hem

Modern Sizing Equivalent: XS-LRG

Item# C570

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

Rene Lewis is a NYC diamond jewelry designer who uses antique materials worked into modern pieces. In the late 1980s and early 1990s she did a limited clothing line that reworked vintage pieces into contemporary shapes and silhouettes. This is one of those pieces and the fabric would have originated from the 1940s. She tweaked the shape perhaps or maybe this was originally a damaged dress that she converted into a top. It is made out of a black crepe that has a wonderful metallic thread embroidered detail at the neckline. The cut of the top is simple and sleek, with a straight cut through the body with just a hint of shape at the waist. At the neck, the embroidery work is exceptional. Gold metal thread is curved and stitched into place for the intricate design that you see. A black and gold band also loops around each arm. Antique buttons run down the back to close the top. You can easily see that it is completely done by hand on the opposite side of the fabric. Excellent vintage condition with a note below

Unlined and slips on. It buttons down the back. The embroidery work is hand done. Normal wear and patina to some of the gold from aging. All of the buttons at the back have some small chips out of them. I have photoed the one with the most of them

Shoulders: 14.5"
Bust: 17" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Length: 19" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# S934

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 stunning 1940s black crepe top that is a little unusual because it has long sleeves. The vast majority of tops you find from this time period are short sleeves because they were meant to be worn under a jacket. This one is made out of a black silk crepe and has a wonderful metallic and non-metallic thread embroidered detailing that is quite extensive. The cut of the top is simple and sleek, with a straight cut through the body with just a hint of shape at the waist. The sleeves are long and end in a snapped cuff. The embroidery work is exceptional and you can clearly see the hand work on the back of the fabric. The pattern is done with a combination of a muted gold metal thread mixed with non metallic natural coloured thread and then little pops of green and red. The design is done in a bib feeling design down the front. It then runs over each shoulder and down each sleeve. At the back the embroidery works its way around the keyhole. The embroidery work is quite dense in coverage and it pops off of the black. It is wonderful. Excellent condition

Unlined and slips on. There is a button at the back of the neck above a keyhole opening. The embroidery work is all hand done. Each cuff snaps to close 

Sleeves: 23"
Shoulders: 15"
Bust: 20" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 23" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# S935

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 wonderful 1940s top that has a subtle little play in its design. It is made out of a deep blue silk that is the weight of a heavier silk scarf. The cut is loose and easy with no true shoulder seams. It simple drapes over you and then is brought in a bit at the waist for shaping. Onto the front are a stacked row of white insets. There are two of these on either side of the bodice. These angle down across the top of the bust and extend all the way out to the ends of the sleeves. I added one photo with one side held out so that you can see how it goes across the entire top. These are stitched into place all around their edges but they are stitched so that there is a 1/4" gap between the white and the blue silk. So when it is one you see that little line of bare skin all around. Very sexy in the most subtle kind of way. Excellent condition 

Unlined and slip on to wear and then buttons down the back. The buttons are hand covered in the same silk as the top. I see the tiniest little nick on the fabric as the front that is stable. 

Shoulders: do defined seam
Bust: 18" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 21" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# S936

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 twenties flapper coat that is not 100% perfect but too dreamy to not give it a second life. It is made out of a beautiful caramel wool that is soft and light. This is accented with light taupe collar this is finished in what looks like a faux broadtail. The coat has a beautiful drape and ease. It falls to just past the knees and has a loose and easy cut so can be thrown on over just about anything. The upper portion of the coat has soft rounded shoulders and these curve gracefully into the sleeves. Each sleeve is quite special with a huge turned up cuff that ends in two angled points. More detail is added to the cuffs with four lovely curving scalloped designs that run up the length of each cuff. These same scalloped edges are used along the seams of the front and at the back. The collar is equally special with a wide soft cut that sits up a bit from the shoulders and at the back it angles down into a point. The button to close it at the front is a large hand carved bakelite button. I love the folds of fabric under the button that fall to look like a ribbon to the hem. At some point someone has removed the entire interior lining and the seams have bits of that and the ribbon that secured it here and there. I see a small repair that is hidden when you close the coat. It is so lovely that I feel that these things that you don't see when it is one are entirely forgivable. Excellent condition other then the items noted. Please read the full description below

The lining has been removed and you can see parts of it here and there at the edges. It closes with the button at the front. I see a repair to the wool on the front under where it crosses over. This is hidden when the coat is closed. There is a residue under on arm at the seam that shows through and a repair on the loop that closes the coat. Please see the last three photos. Sold as found. The loose and open cut will fit a range of sizes. For its age it is still sound and wearable.

Sleeves: 23" from the slightly drop shoulder
Shoulders: 15"
Bust: 20" flat across from inner side seam to side seam
Waist: 19" flat across from inner side seam to side seam
Hips: 20" flat across from inner side seam to side seam
Length: 40" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# C566

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

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.

I recently sold the near twin to this coat and am happy to have one more for you. These are the only two I have ever seen like this. This one has a slightly different collar and has a bit more grey tones through the cream parts. It is a stunning example of the fur pieces being produced at this point in Christian Dior's history. It is made out of a sheepskin that has been brushed out so that is is soft and fluffy. You can see in areas where the undercoat is very curly. The color is a combination of creamy ivory mixed with a pale caramel that has an almost pink cast to it in some areas. You can also see some deep grey hairs here and there on this one too. It is a little more pastel feeling in person then how it photoed. The fur is very soft soft and very fluffy. It is done in rows of fur that are tightly set up against the next row above and below. The collar on this one is a little neater then the other one I had and wraps around the neck to create a gorgeous frame around the face. These were almost certainly made to order which would have allowed the client to make small changes to it like the shape of the collar. It is cut in a classic pea coat style with a flared bottom. There is a fur hook at the neck and pockets sit along the horizontal row on each hip. The sleeves are cut straight and full. It is a stunning choice for the girl who believes that vintage fur is a sustainable choice. Excellent condition with a minor note below to review.

Fully lined in a deep taupe silk that is embroidered with the Christian Dior name throughout and with the former owner's name - Clarissa. There is one fur hook at the neck and the clip part of one further down but no loop on the other side. Pockets on each hip. There is slight wear at some of the common points of contact. The edges of the sleeves, collar, pocket tops, the inner edge of the coat, but all are minor. Please see the photos provided. It is fresh back from the cleaners. 

Sleeves: 22.5"
Shoulders: approx 15-16" but no inner defined seam
Bust: to 18" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: 21" flat across from side seam to side seam
Length: 40" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# C565

Reference Photos: (1) Models in Christian Dior fur coats, L'officiel Magazine, 1971.  /  (2) Christian Dior Coat from The MET Collection.  /  1960s-70s Christian Dior Coat from The Met Collection Online.

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

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