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

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

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

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

Modern Sizing equivalent: SML-MED

Item# DD946

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

Christian LaCroix launched his Haute Couture house in 1987 and was instantly adored and revered. A ready-to-wear line soon followed along with perfumes and menswear. His collections are always an exotic, lavish affair and his inspirations spanned the decades with their eccentric, exotic glamour. His atelier closed in 2009. This dress is from the late 1990s/early 2000s. I love it in all it's signature Lacroix drama.

The beautiful bias cut on this dress instantly reminds one of the glory days of Old Hollywood and high glamour. The dress has been done in two layers. There is an inner silk satin slip in a pale ivory and then the outer silk crepe chiffon  layer glides over that. Both pieces have been cut on the boas so made to conform and mold to the body under them. The fine, curved seaming done on the dress is a nod to the type of costumes being worn by starlets of the 1930s and designers working with bias cut fabrics like Madame Gres and Madeleine Vionnet. It really has that same feel once on but the embroidery and applique work on the front middle of the dress give it a modern touch. The bias cut and curved set seams allow the dress to both hug the body and still move with you so it is extremely light and comfortable when on. The bodice is hand draped across the bust with small capped sleeves. The sleeves are split and draped so you will get a little loop on the arm when it is worn. One one side a panel of fabric that drapes down for the prettiest touch. The back is also draped and curved sown in a soft scoop. It is cut to curve around your body, skimming over the waist and flowing softly into the long skirt. The construction of the skirt is remarkable. The back of the skirt cascades down and extends into an show stopping train of silk. It is absolutely beautiful and a dream to wear. Excellent condition

The inner, separate slip acts as the lining under the outer silk crepe chiffon layer. The slip has no closures and slip on. It is so well made you could probably wear it on its own as a separate dress altogether. The outer dress closes with a back, hidden set zipper. Tagged a size 36. The bias cut should allow it to fit a range of sizes. The length will come up a touch once on an actual body due to the bias cut. You might be able to wear a larger slip under it and go more by the outer dress measurements if needed.

Dress
Shoulder: no defined seams
Bust: 16-18" flat across from side seam to side seam
Waist: 13-14" flat across from side seam to side seam
Hips: 16-18" flat across from side seam to side seam
Length: 66" from shoulder to front hem, 86" to end of train at the back

Slip
Bust: 15-16" flat across from side seam to side seam
Waist: 12-17" flat across from side seam to side seam
Hips: 17-21" flat across from side seam to side seam
Length: 65" from shoulder to front hem

Modern Sizing Equivalent: XS-MED

Item# DD2803

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

Ossie Clark once told an 18 year old Marianne Faithfull to go back into the dressing room and take off her bra and knickers. ‘How do you expect me to go out like this?’, she asked him, and he replied, ‘You're meant to be able to lift your dress up at any time, and pull down the top, and just have sex.' ....That little story pretty much sums up the attitude of wearing an Ossie Clark. They are sensual, sexual and yet still utterly beautiful. He as a master cutter and his main line clothes were made at a Couture level. He could cut freehand and was one of the first designers to source clothing from the past to use as inspiration but his designs were always uniquely his own. He was relentless in making the female body look as good as he could and did what it took to achieve that. He once told the Sunday Times ‘I don’t care how much anything costs as long as it’s beautiful.’ The period of his work between 1965-1974 was pure fashion porn and will never be equaled.

Ossie named all his couture dress and this one is known as the ‘Bridget’, said to be named after Bridget Bardot who was said to be a regular at the Quorum boutique. The design is first mentioned in the book on Ossie by Judith Watt as part of the 1968 collection but variations of it were photoed up to 1973. A tulip print was captured on Marianne Faithful herself. Variations of this dress also appeared in Vogue UK and a floral version landed on a young Anjelica Huston for a Selfridges ad.

The dress is made out of a satin backed, black crepe, that wraps with a low and wide plunge at the front. The sleeves are a puffed capped and the front and back gather into the yoke across the shoulders. It wraps with long ties at the waist and has a padded waistband. The skirt is very full with yards of fabric in its construction. A series of tightly spaced knife pleats run down each side. These were a signature hallmark of this particular dress. The dress is in overall excellent condition but does have a note concerning condition to review below.

The fabric is self backed. It wraps to close and ties with the attached ties. It is labeled a vintage UK 12. There is some slight fading across the upper shoulders and the back of the collar. Where it is makes it a non-issue when its on but it is there. Being solid black re-dying is a potential option if this bothered you. These are so rare the effect to the value is minimal. The wrap style should allow it to fit a variety of sizes. 

Slightly inset shoulders: 13"
Bust: to approx 17" flat across from side seam to side seam
Waist: 11-13" flat across from side seam to side seam
Hips: open
Bodice: 14" from top of bodice to waist
Skirt: 40" from waist to hem

Modern Sizing Equivalent: XS-MED

Item# DD3363

Reference Photos: (1-2) Martha Hunt in Ossie Clark from Shrimpton Couture, Cannes, May 2018.  /  (3) Model (Camille Neviere) in Ossie Clark from Shrimpton Couture. Photo by Angela Y. Martin. (Styling: Ulia Koles. Hair & Makeup: Larissa McCourt).  /  (4) Model in Ossie Clark for Quorum, Shot by Henry Clarke, Vogue UK, September 1971.  /  (5) Anjelica Huston (right) for Ossie Clark, Cosmopolitan, May 1972.  /  (6) Marianne Faithfull, 1973.  /  (7) Pattie Boyd in Ossie Clark.  /  (8) 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.

This was one of the stand out coats from the Pre-Fall 2011 Stella McCartney collection and this grey version quickly caught the eye of a lot of women and sold out worldwide. It has a lovely androgynous feel to it with its play on a mans low slung classic double breasted coat. It has slightly sloped shoulders whose slouchy feel is offset but her extension of the shoulder seam so it has a hint of a cap. The cut through the body is oversized through the upper portion and then it narrows down into the hip. A single large pockets sits on one side at the middle of the jacket, like a dropped breast pocket. Hidden pockets also sit along each hip. It is warm and easy to wear. Looks to have been worn very little if at all. Excellent condition. 

Fully lined in a black silk textured fabric and closes with the low set double row of buttons at the front. Pockets on each hip. Tagged a modern 40 but cut to feel more oversized. Please know your size in her line or make sure to check the measurements below.

Sleeves: 25"
Shoulders: 15.75"
Bust- hem: to 21" flat across from side seam to side seam, widening to 23"
Length: 34" from neck to hem

Modern Sizing Equivalent: MED-LRG

Item# C532

Reference Photo: Pre Fall 2011 Stella McCartney Collection, Look 23. Model: Ieva Laguna.

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# C531

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

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

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

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

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

Modern Sizing Equivalent: SML-LRG

Item# S898

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

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

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

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

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

Modern Sizing Equivalent: SML-LRG

Item# S897

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3360

Reference Photo: Cherie, Owner of Shrimpton Couture.

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3357

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3356

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

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

This is an incredible and very rare set by Halston from his main line. The top part of the set is very similar in feel to the one worn in the famous 1978 image of his 'Halstonettes" taken in the Halston offices. In that photo, the same metallic lurex is used in a different color way and the gathered bodice tops full pants. Here the pieces are more distinctively separate as a bandeau top and skirt.

This set is magnificent and such a rare fine. Both piece are made from the finest, lightest metallic lurex lame and the color is a deep true purple. The top is gathered on two pints on either side and you can wear these at the side as I have photoed it, or wear the gathers down the center front and back. It is lined in a nude stretch jersey. It simply zips into place and it's done. There is some flexibility on how much midriff you wish to show between the top and the skirt. You can push it up and gather it a touch more to really show off a band of bare skin underneath, or pull the fabric down to almost meet the waist of the skirt as I have photoed it. The skirt underneath is a flirty little thing and it is cut with tremendous volume that only shows itself when you move. The lightness of the fabric allows it to lie fairly smooth when you are standing still, but in reality it is pretty much a full circle skirt. It is unlined and instead is made up of three layers of the feather-light lurex. This gives it just enough opaqueness to not be scandalous but in a strong light you would still see shape underneath. It's amazing and a rare, museum worth piece by on of the greatest of American designer. Excellent condition.

The top is lined in a nude stretch lingerie jersey. It has an inner waist stay that hooks to close. It zips at the back and has boning built in along the side there and at the front middle. The skirt has no lining and is made of three layers of the fabric as noted above. It hooks to close at the waist and snaps under that.

Bandeau
Bust: 17.5" flat across the top from side seam to side seam
Inner waist stay: 13.5" flat across from side seam to side seam
Height: 9" at the boning. The fabric on either side og the boning can be worn more or less gathered for more or less coverage

Skirt
Waist: 13.75" flat across from side seam to side seam
Hips: open
Length: 29" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3354

Reference Photos: (1) Alva Chinn, Halston and Chris Royer at Olympic Tower, September 1978. From the Book 'Halston' by Phaidon.  /  (2) Model in Halston, 1978. From the book 'Halston An American Original'.

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 had the twin of the dress ages ago and I was so pleased to find another recently. Ungaro recently passed away and that always makes you look at a designers work with a new appreciation. Ungaro launched his label in 1965 after stints at Balenciaga and Courrreges. His pret-a-porter line, Ungaro Parallele, was created in 1968. He was a brilliant designer who was known for his of colors and flamboyance.

I absolutely love this Emanuel Ungaro dress. The color is wonderful. It is perfect shade of purple that is done on a fluid silk. He has used two types, a solid silk to create the pleated bust and for the skirt, the fabric has a wonderful secondary pattern of small dots woven through it. The fabric is quite light in weight so despite the elaborate construction of the dress is not heavy to wear, but it does hold the intended shape fabulously. The bodice is cut with a strapless, peaked and plunged neckline. It is elaborately pleated and fitted around the bust with hand placed and gathered folds and internal structure and light wiring. Under that the skirt is set into the bust to follow the angled line at the front. It is set in with soft gathers all around, and then wraps and closes at the back. The bodice has a touch of asymmetry to it and the way the skirt is set in subtly plays on this At the back it wraps over itself and snaps into place with a series of snaps hidden along the lower edge of the bust. This allows a bit of leg to show at the back when you walk. It is incredible. Excellent overall condition with a note to review below

Fully lined in a purple silk chiffon and closes with a back zipper for the corseted interior and then the skirt snaps into place along the seam line. There is a touch of fading to the fabric along the edge of the back panel. Please see the photo after the label shot. The corset fully zippers open and if it's not caught right the teeth can open a touch I have left it as it works fine if you just re-zip it until they catch. The bodice is boned and shaped. Hand finished

Bust: 17" flat across from side seam to side seam
Inner waist: 13.5" flat across from side seam to side seam
Hips: open
Length: 54" from top of bodice to hem

Modern Sizing Equivalent: SML-MED

Item# DD3353

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

George Stavropoulos was known for his evening wear and his signature looks that often involved draping and the use of multiple layers of silk done on a bias cut. He focused on cut and fabric to convey the beauty of each piece. It was said that his gowns "seemed to float on air". He launched his label in 1960 and soon was dressing women like Elizabeth Taylor, Jackie Kennedy, Barbra Streisand and Maria Callas. His dresses were made by hand and to couture standards. By the early 1980s a gown by him started at around $8500 and they went up in cost from there - that starting price point equals to around $26,000US in today's dollars. So when you buy a vintage Stavropoulos gown you are getting incredible value for your money.

The simplicity of this dress when you first look at it hides the incredible craftsmanship used to create it. I love the light and airy feel of the dress that is created by the yards and yards of silk chiffon used in its construction. Working in this type of fabric is already difficult and this would have taken many hours of work to execute the making of this dress by hand. The column of silk that you see has been cut on the bias. Incredibly, there are four full layers of silk used to make up the body of the dress. This gives it enough of an opaqueness to wear and also gives it a lovely movement and makes it very comfortable to wear once on the body. The layers sit over each other perfectly aligned and in a sheath silhouette so it is very easy to wear. The sleeves are made of a single layer of the chiffon. On one shoulder is an attached long panel that gives it a caped effect. This trails all the way down to the hem and adds a touch of drama as you move. It flows behind you as you walk and it creates a very pretty effect with its slight transparency. It is very beautiful. Excellent condition with a couple of minor notes below

The body of the dress has four layers of silk chiffon. It closes with a hand set, zipper at the back. Immaculately constructed. It appears to have been worn very little if at all. The bias cut allows for some range in the measurements as indicated below. There is the slightest bit of a pull on one sleeve. I see the slightest bit of teeny snags to the silk here and there but very very minor and just mentioned for accuracy. Please see the last photo after the label shot.

Shoulders: 14.5
Sleeves: 25"
Bust: to 18" flat across from side seam to side seam
Waist: to 16" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Length: 43" from neck to hem and may come up a little when on due to the bias cut

Modern Sizing Equivalent: XS-MED

Item# DD3346

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 spectacular bold silhouette Balmain dress by Olivier Rousteing. The fabric is great. It's just heavy enough to hold the shape and structure that the dress has but without feeling thick or too structured. The shoulders have Rousteing's signature bold and sharp shape and the sleeves taper to the wrist from there. The fabric on the skirt is draped in towards the center front so that you get the effect that the hips are wrapped in it. The front bodice also is wrapped down and into that center knot giving the illusion of an even smaller waist. The bodice of the dress has a long open keyholes at the front and this is balanced by a high neckline. At the back, the Balmain signature chunky zipper runs down the back. It is spectacular and sexy and a collectible both now and as a future vintage piece. It appears to have never been worn. Excellent condition.

Unlined and closes at the back with the signature chunky brass Balmain zipper. Padding in shoulders. Appears unworn. Tagged a modern Balmain 40. The fabric does have some stretch

Sleeves: 27.5"
Shoulders: to 17" due to the shoulder pads that extend beyond the natural shoulder
Bust: 17-18" flat across from side seam to side seam
Waist: 13.5-15" flat across from side seam to side seam
Hips: 16-18" flat across from side seam to side seam
Bodice: 17" from neck to waist
Skirt: 19" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3347

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 and intricate jacket by Adolfo. Adolfo started his career under Balenciaga and like Halston, was a successful milliner before opening his own fashion house. He became know for his Chanel inspired suiting and some of them are on par and perhaps even more relevant in feel then their inspirational equivalents of the time. This little jacket for example is wonderful example of his work. Adolfo often did custom work for his clients who ranged from the Duchess of Windsor, to Jackie Kennedy Onassis, Gloria Vanderbilt and Nancy Reagan. He even won a Coty Award in 1969. I love his work and am very pleased to have this exceptional jacket in the shop today. It is made of a beautiful pale pink woven boucle that has a rich, luxurious feel to it. The design that runs through the fabric is created by the use of a white and gold thread that is woven through the pink base. He then had faux pearls scattered over the entire jacket. It is surprisingly light and almost more of a light evening sweater weight then that of a true blazer type jacket. The edges of the jacket have a heavy and dense finish of gold thread, more pearls and then colored rhinestones set in among that gold. I has a single hook at the neck. Excellent condition.

Unlined in a hand set black silk. It has one hook at the top of the neck. 100% wool

Sleeves: 23"
Shoulders: 15.5"
Bust: 19.5" flat across from side seam to side seam
Waist: 19" flat across from side seam to side seam
Bottom: 19" flat across from side seam to side seam
Length: 21" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# S895

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

This top is fabulous and the perfect thing to pop on when you want to add a little sparkle. I have it buttoned all the way up but it works equally as well with the top ones undone. The top is made in the couture manner of making a top with the lower part of the silk base having no sequins so that you can tuck it in without having bulk and ruining sequins that would get caught in the tucking of it. Above that the entire top is covered in sequins & little silver tube beads. They are all hand applied in vertical rows hat are tightly spaced so that there are no gaps between. A row of pale pink sequins sits beside a row of the tube beads and then there is a row of silver beads. This patterns covers every square inch. The collar is pointed and it is cut loose and easy through the body. Each sleeve ends in a cuff with a rhinestone encrusted button. More buttons run down the front and one sits on that front pocket. The buttons are just for show. The top actually snaps to close behind them so there is no break from button holes in the sequins at all. It's wonderful. Excellent condition 

The sequins are hand sewn directly onto the ivory silk organza base. It snaps to close begin the buttons down the front and on each cuff. Hand done and finished throughout. Shoulder pads loosely tacked in that could easily be removed. I see a couple of tiny nicks out of the silk on the bottom part that has no sequins

Sleeves: 23"
Shoulders: 16.5"
Bust: to 21" flat across from side seam to side seam
Waist: 20" flat across from side seam to side seam
Hips: 21" flat across from side seam to side seam
Length: 19" from neck to where sequins end, 26" from to bottom hem

Modern Sizing Equivalent: MED-LRG

Item#  S893

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

Jacques Heim began his career working at his parents fur business. In 1923 he took that business over and made it into his own vision. Heim began designing a line of made to order, in-house couture pieces that used original fabrics, most notably, those of Sonia Delauney. In 1930 his younf label became an official member of Haute Couture and his self-named label, Jacques Heim, was born. Jacques remained at the helm of his business until his death in 1967. The label was shuttered by 1969.

This dress is a wonderful example of his work in the 1950s. The label has the additional wording of 'sur autorization speciale, Maria Carine Paris' (made by Maria Carine Paris with special authorization). Garments with this label are best explained by this excerpt: 'Maria Carine was owned by Maria Moutet-Chenu. She worked with four couturiers: Heim, Desses, LaRoche, and Lanvin. After the couture showings, each couturier would give her sketches based upon the garments they had just shown. Moutet-Chenu made the toiles which were approved by the designers. Then each garment was cut individually by hand in the Maria Carine workrooms in Paris using the same fabrics that were used for the couture garment. Maria employed hundreds of seamstresses, many of whom worked in their own homes. They sewed each garment individually to exacting standards. This was the highest of early high-end ready-to-wear.'

In other words - this is a fully authorized piece by the couture house. It would have been completely overseen by Heim and was the way the house would have produced demi-couture and ready-to-wear pieces for their clients. Maria and her seamstresses were only utilized to produce garments in this method for a small window of time before more mass market production methods took over that were a lot cheaper. It is a wonderful example of a very small moment in time when the quality was still very high.

I love the classic cut of this dress. It is cut to skim over your curves of the bodice and the sleeves are an extended curve of the fabric of the bust so that there are no seams at the shoulder or arm to break the line. The waist nips in and the skirt is cut slightly slimmer at the front and then very full at the back. I have styled it over a light crinoline to show you the shape. If you wished to get a very full skirted look you could but not without adjusting the inner lining which is cut in a more straight shape. The fabric is wonderful. It is a deep, non-metallic French gold lace that is applied over a fine black silk net. I love that all the edges are left so that the follow the floral pattern in the lace to give them a softer, curving scalloped finish. The sleeves are cut tot he elbow and they, along with the upper shoulders, are left unlined so you see a peek of skin through the lace. It is simplicity mixed with a masterful seaming and cutting and extraordinary fabric. Hand finishes and extra detail throughout. Excellent condition

Fully in a black taffeta and closes with a back painted metal zipper. Pinking shear finishes to the interior seams and hand finished throughout. The added crinoline is not included.

Shoulders: no defined seam
Sleeves: approx 14"
Bust: 17" flat across from side seam to side seam, with a good C cup at least
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 16" from neck to waist
Skirt: 28" from waist to hem

Modern Sizing Equivalent: SML-MED

Excerpt in the description taken verbatim from the Vintage Fashion Guild

Item# DD1207

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 amazing trench coat that has all the flash and excess that was the best of the eighties. It's by Dior and has that great oversized feel to it that was so prevalent during that decade. The fabric that it is made out of is coated with a gold covering that gives it that fabulous metallic feel. It is fairly light weight as result. The styling is classic trench with buttons straps across each shoulder and around each cuff. Pockets sit on each hip and there is a double row of buttons at the front to close it. It has its original tie belt made of the same coated gold material. It is meant to be big and oversized so should work on a range of sizes. Inside it is lined with a matching gold toned fabric that has the CD logo throughout. The coat is not 100% perfect but still very wearable and so fabulous I could not pass it by. Its listed at a steal as a result of its small flaws but has year of glitzy over the top life left in it. Overall great condition but please read the full condition notes below.

Fully lined in a logo embossed gold toned silky rayon. Closes at the front with buttons and the tie belt. Pockets on each hip and light padding in each shoulder. Tagged a vintage 8 but meant to be worn oversized. There are areas where the gold is flaking off. Most notably the collar, inside and out; the tops of each shoulder of the sleeves. The sleeves, where the belt ties and other areas all through out have signs of cracking ad minor flaking as well. I photoed the worst of i and you can super size the photos to see all. Still very wearable with lots of life.

Sleeves: 24"
Shoulders: 16"
Bust: to 22" flat across from side seam to side seam
Waist: to 22" flat across from side seam to side seam
Hips: open
Length: 50" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# C528

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 exceptional piece of vintage Chanel and a rare find. This is a very early piece of Karl's work for Chanel. His first collection was in 1983 and  it is amazing to have a verified piece from just a few short years into his long career there. A version of the dress made of the same fabric walked the runway that season and we were able to find that reference photo. The hand written tag on the dress is also marked 1986 and there is a special order tag from Bergdorf's with the exact date and client name. It is a wonderful example of the work that Karl was doing for Chanel during this time period.

The dress is made from a of a metallic gold thread set on a black silk chiffon. The effect that this gives is that it is a gold lace. You only realize that it is made of that fine gold metal thread as you get closer to it. This fabric treatment also gives it a touch of a 3D feel. Under the top part of the dress is a inset bodice made out of black silk chiffon. This leaves the upper shoulders and arms covered in just a single layer of the chiffon and gold so you get a touch of transparency there. The cut of the dress has been kept fairly simple so that the fabric can take center stage. The neckline is set slightly wide and the edges of it follow the lace pattern. The sleeves are long and the bodice is cut to skim over the buts and waist. This  then flares out to the hem of the skirt. The front is cut to a more cocktail length and this curves down into a longer back skirt that is a true maxi length by the time it reaches the longest point of the back hem. This high low cut is tremendously fabulous and it lets the dress have more range. You are able to wear it to both a less formal cocktail affair, yet it will still work for a formal event as well. It has the Chanel boutique label with a hand written label below that with the date and other information. It is beautifully made. Excellent condition

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3345

Reference Photo: Ines de la Fressange models for Chanel 1986-1987 Fall-Winter collection. Photo by Pierre Vauthey.

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

This fabulous faux fur coat is a very rare piece indeed. It is a wonderful example of Thierry Mugler's work with its amazing over-sized hood and nipped in waist. The exaggerated narrowing of that cinched waist is made even more so by the curving line of the hips that flare out dramatically. The excess amount of fabric used n the lower part of the coat makes it even more dramatic and that combined with the thickness of the faux fur cause that flared out line to happen from every angle you see it from. The color is a very creamy ivory with a touch of a yellow tone to it depending on the light. There is a hidden snap under the belt at the front and another at the tip of one collar so you could potentially close it right up. The collar is wide and full and this extends out to a fabulous deep hood. The waist is cinched in with a faux leather belt with a silver colored metal buckle. This is an early foray by a high end designer into attempting to find a substitute for real fur and so has historical importance from that perspective as well. Excellent condition

Fully lined in an pale gold toned silky satin and has two hidden snaps at the front as described above. It then belts with the original accompanying belt. Pockets on each hip. Hand set rounded padding in each shoulder. Tagged a vintage Mugler 40. Because of the way it is cut it should work on a variety of sizes

Sleeves: approx 22-24" from natural shoulder
Dropped shoulders: no defined seam
Bust: 18" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: open
Length: 31.5" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# C527

Reference Photos: Cherie, Owner of Shrimpton Couture.

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

I am so in love with this dress. The lines of it are pure Yves Saint Laurent for this time period and it is just extraordinary. The dress is made from a combination of a deep silver grey silk taffeta that he has used for the body of the skirt and the matching ruffled shawl, combined with a black, sequin detailed lace bodice. That same sequin lace is also used to finish the lower part of the skirt's wide hem. The dress is suspended from the shoulders by two thin silk ribbons. You could also easily tuck those in and wear this as a strapless piece if you wanted. Under those straps the bodice is covered in a black silk lace netting that has a secondary design made from applied silk organza to give it a 3D feel. Over this are black sequins that have been used to highlight the design created by the silk and netting. The bodice is backed with a black silk but on the hem of the skirt, where the same fabric has been used to finish it, it is not backed. This gives you a touch of transparency there that is very sexy as some parts of the skirt are actually cut quite high up the leg when you just look at where the grey silk part falls to. The skirt itself is extremely full so that when you move you will get a lot of volume and movement. It has a long matching silver silk sash that cinches in the waist as much as you wish. It also comes with its original matching shawl. The shawl is very large and finished with a wide ruffle all the way around. As good as it looks on a dress form, on a real body it really comes alive. Excellent condition with a couple of minor notes below

Fully lined through the bodice with a black silk and the grey part of the skirt has a black silk chiffon inner skirt. It closes at the side with a metal and nylon zipper. Tagged a vintage YSL 42. There is a faint mark on the side of the skirt near the seam and bottom of the grey part of the skirt that you only would see if you lay it out flat as I have. The straps show some wear and fraying at their very tops. Please review the first two photos after the label shot. The shawl has a small blue mark near a seam and there are some watermarks/scuffs to the fabric. These are shown in the last two shots. All are minor.

Bust: to 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 17" from top of shoulder to waist
Skirt: approx 42" from waist to longest points and approx 25" to shortest
Shawl: 57" x 46"

Modern Sizing Equivalent: SML-MED

Item# DD3342

Reference Photo: Model in Yves Saint Laurent F/W 1981-82 Rive Gauche Collection. Photo by Helmut Newton. From the book "Yves Saint Laurent: Icons of Fashion Design" by Schirmer/Mosel.

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

Please do not buy - this is now on layaway

I have had the black and gold version of this one shoulder dress by Bill Tice, but the is the first I have had in this wonderful nude peach color. Versions of his one shoulder pieces sit in the closet of countless celebrities like Rachel Zoe  & Nicole Richie (and my own!). This is one of those dresses that you know is going to work every time you put it on. Whenever I get my hands on these they fly out the door. It is insanely sexy with an easy to wear caftan feel that is suspended from one single shoulder. It is made of a liquid 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 perfectly ready to go. The inner dress is long and slim and this is topped by a wrapped looser overlay that is cut on a curving angle. The way it is constructed the inner dress is seamed to just about the hop and then its open under there, with coverage provided by the wrapped overlay. This allows a bit of leg to show when you walk or sit. The single shoulder has a knotted flower detail and both the flower and the neckline edging are accented by ribbons of gold lame. Excellent condition.

Unlined and slips on to wear. The easy fit should allows it to work on a variety of sizes. It appears to have been worn very little if at all.

Bust: 15-19" flat across from side seam to side seam
Waist: to 21" flat across from side seam to side seam
Hips: open
Length: 58" from shoulder to hem and you can adjust at the shoulder

Modern Sizing Equivalent: SML-LRG

Item# DD3339

Reference Photo: Cherie, Owner of Shrimpton Couture.

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