• The twin of this dress walked the runway for the Fall 1979 Chloe collection.
• It was made under the creative direction of Karl Lagerfeld. 
• This is an incredibly rare and very well documented dress from one of the most creative and forward thinking collections that Karl did for the label. 
• In the book 'Chloe Catwalk', Vogue was quoted as saying "The clothes that Karl Lagerfeld designs for Chloe are the natural results of the world he creates, and if they sometimes seem to be from other times, it is because those other times have as much reality for him as rain and taxes have for the rest of us. You can love Karl Lagerfeld's clothes, you can hate them. See them once, and you can't forget them." The Japan Times called it "A trend setting collection". The Glasgow Herald said "Karl... takes the Edwardian Gibson Grill as his inspiration; hour glass shapes - curved bosom, tiny waists, swelling hips". 
• US vogue also commented that "Women collect Lagerfeld by the piece, not by the wardrobe"
  
• It is incredibly well documented and an extremely rare piece of Chloe, from an outstanding collection, and exemplary example of the history of the brand under Karl.
• The dress is made from a feather light silk chiffon in a deep ivory. In person, the ivory is a touch deeper than how it photoed here. Onto this are hand applied rows of lace and strings of faux pearls.
• The sleeves are long and they have added fabric built inside the shoulder area to help hold some volume ad the slight cap around the upper arm. They are full all the way down to the wrist where they explode outward with a cuff made out of four layers of the angle edged lace. Circling each wrist, and circling where the sleeve is set into the bodice, are a string of larger size pearls. Smaller size strings of pearls follow the lace that runs down and wraps around the full length of each sleeve.
• The neckline is high and like the cuffs, it is made out of multiple layers of the lace that are stacked on top of each other to create that dramatic ruff around the neck. It wraps over itself at the front and sweeps out to meet one shoulder.
• The bodice is cut to skim over the bust to the dropped waist. Multiple panels that mix the lace and strings of pearls are set diagonally over the bodice and around the back, highlighting the sweep of the collar above.
• The waist is dropped and seamed with a slightly more generous cut. It was not shown with a belt on the runway, but if you wanted to add shape, you certainly could belt it at the natural waist for a more defined silhouette.
• The skirt curves over the hips and it is a gathered all the way around the waist in a series of tiny pleats. These allow the skirt to open up underneath beautifully to help create that hourglass feel that was so prominent in this collection. Four more rows of the lace are set in the same angle all the way down the skirt but without the pearls. It is the perfect added detail and ties the whimsical feel of the entire dress together. A final layer of lace circles the bottom hem.
• At the back, the dress buttons to close with a series of large pearl buttons. These buttons are the largest pearls that we see on the dress and I love that he has used three sizes of pearls for this piece. These are the perfect finishing touch. 
• The dress is fully lined in an ivory silk. It closes with the buttons at the back. Hand finishes throughout with most of the inner seams finished completely by hand to couture standards. The lining through the upper body is starting to split in places. I see a couple of minor marks on the outer dress and some of the lace around the upper shoulders and neck line have darkened slightly. There are added panels around part of the inner lining where part of the inner lining was reinforced. Please see the photos after the label shot. These are all mentioned for accuracy but most of the flaws are inside the dress. Given the rarity and importance of this dress it is still considered to be in excellent overall condition.
• There is no size tag present so please go by the measurements below
• Excellent condition with the note above.

Sleeves: 24" to the ends of the lace at the cuffs and are 16" around the upper arm
Shoulders: 15"
Bust: to 17" flat across from side seam to side seam
Natural waist: 14" flat across from side seam to side seam
Seam at dropped waist: 14.5" flat across from side seam to side seam
Hips: to 26" flat across from side seam to side seam
Bodice: 18" from neck to dropped waist
Total length: 58" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD5335

Reference Photos: (1-4) Fall 1979 Chloe Preview.  /  (5) Fall 1979 Chloe Runway.  /  (6) From the book "Chloe: CATWALK".

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

• After much research I believe this to be from the Spring 1979 Chloe collection.
• It was made under the creative direction of Karl Lagerfeld. 
• In this collection he moved away from 1940s as his inspiration into the sex appeal of the 1950s, said the book 'Chloe Catwalk'. The silhouettes were based on the hourglass. In that same book there was a very similar floral patterns shown I have included several photos here for you.
• Hand placed gathering emphasizes the hips for many of the pieces in this collection, along with extra emphasis on the waist. Lagerfeld said of the collection to the press "Frivolity is important. I want shape and sensualness."
• The dress is made from one of his signature feather light silks being used during this time period for Chloe. It is screened with a custom print that mixes an ivory, more pastel coral colour and a pale lavender.
• An interesting detail is that the labels are on the side of the dress that I think is the front. The side that has the deep plunge is longer in length at the hem so I believe that should be the back. I have seen other dresses with this label placement from around this time period and when the back is plunged like this, so it is not unusual to see. I have photoed it both ways for you, with the plunge at the back and the front. You could potentially wear the plunge at the front if you don't mind the longer hem at the front much like that Lacroix dress from me that was worn to the Met Gala a couple years ago when they turned it around backwards.
• The sleeves are long and it skims over the bust to the waist. The back plunges into a low V to just above the waist. As mentioned above, it is possible that you could wear it either way around. It is incredibly sexy worn either way.
• The waist is seamed and the dress comes with its original striped screened silk belt that hooks into place around you. The stripes on the belt pick up the stripes that are on the end of each sleeve and circle around the hem.
• The skirt curves over the hips and there is a gathering of the silk for added shape. It falls to the floor with the back cut longer then the front for a slight trained effect. You get the most fantastic movement as you walk.
• The dress is in its original uncut length and is unlined. It closes with a back hand set zipper. Hand finishes throughout. There is a tiny bit of fading at the top of the shoulders and edges of the hems. The entire dress looks to be hand dyed and or screened and it presents perfectly once on as this becomes part of the uniqueness of the pattern. The belt hooks to close.
• Excellent condition with the note above.

Sleeves: 22.5" and are 11" around the upper arm
Shoulders: 14"
Bust: to 17" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: to 18.5" flat across from side seam to side seam
Bodice: 16.5" from neck to waist
Total length: 60" from neck to front hem, 68" to the back hem with about 2" turned under the hem
Belt: 2.5" wide x 27" long where the hooks currently sit. 

Modern Sizing Equivalent: XS-SML

Item# DD5310

Reference Photos: From the book "Chloe: The Complete Collections" by Lou Stoppard.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

• A very pretty little dress by the Chloe label
• The Fall 2006 collection was designed by the in-house team
• The dress is strapless and gathered across the bodice. The waist nips in under that and then the chiffon of the skirt flares out and is brought back in under the skirt.
• Underneath the edge of the skirt there is a pretty little scalloped ruffle set in three layers so you just see a touch of it peeking out from the edge of the hem.
• Some of the chiffon has been gathered along one side of the waist and then a wide, deeper ivory, panel of fabric wraps around the waist and is brought into a half bow on one side with the ends trailing down.
• An exposed zipper closes it at the back
• The dress is fully lined in an ivory silk 
  
• Tagged a Chloe 36
• I see some shallow marks under each arm and tiny bit of fraying along the edge. 
  

Bust: 16" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 6.5" from top of bodice to waist
Total length: 30" from top of bodice to hem

Modern Sizing Equivalent: XS-SML

Item# DD5060

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

The Stella McCartney era at Chloe has since become extremely collectible. The fall 2001 show was fantastic. This was the opening look for the show and in Vogue's review they specifically mentioned the faux coats that were treated so glamorously with added details saying; "Stella McCartney continued with her exploration of grown-up, couture-inspired silhouettes for Chloé, without forgetting about the youthful, fun-loving basics that are the label's bread and butter. McCartney's forte is her ability to glam up casual street clothes. Her fitted jeans and corduroy trousers with zipper pockets, face-stenciled T-shirts and pearl-encrusted draped tops all had an air of insouciant cool to them; so did the faux furs with shaved bits that accommodated clusters of silver flowers." This was one of the strongest looks from the show and a true piece of fashion history.

The twin of this coat was the opening runway look and was worn by Angela Lindvall. The show had several piece sin this faux fur but this coat is the hardest to find. You will often see the shorter version that was made of this coat or the shrugs or collars but the actual coat is very rare. These had a pretty hefty price tag and not as many were made. They were only sent to certain stores and were a limited production piece. The coat is a 3/4 length and is made from a thick and soft faux fur. The cut is loose and easy and it widens out as it nears the hem for a bit of a swing coat feel. It has hidden fur hooks to close the top part of the front and then swings open under that. There's a hook at the top of the collar so you can wear it folded down like how I photoed it for these photos to give it a more loose and easy feel or you can close that top hook so that it wraps around the neck like how it was worn on the runway. The sleeves are cut extra long and they are gathered along the inside of the wrist. This gives them a curve so that they follow the curve of the arm and it also lets you wear them up a bit so they get that bit of a gathered slouchy feel you see in the runway pics. The inside is lined in a men's wear shooting fabric that she often used. There are two zippered pockets in the interior that have little chains attached to the zipper pulls. On the exterior there is a pocket hidden along each hip. It is meant to feel a little big and slouchy once on and I love that. The best part about is of course that extraordinary detailing done on the shoulder and collar on the one side of the coat. Fine silver metal strips have been applied to the coat to create a series of medallions. Swirling beads and sequins sit over those to create this fantastic design that goes across the top of the arm. under the shoulder at the front and then runs up and into the collar and around to the back. Its just brilliant and an amazing piece of fashion history. It appears to have been worn very little if at all. Excellent condition.

Fully lined with two interior pockets as described above. It closes with hidden fur hooks at the front. Pockets on each hip. Tagged a vintage Chloe 40

Sleeves: 28"
Shoulders: 16.5"
Bust: 18-19" flat across from side seam to side seam
Waist: to 19" flat across from side seam to side seam
Hips: to 24" flat across from side seam to side seam
Length: 47" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4454

Reference Photos: Fall 2001 Chloe Runway, Look 1. Model Angela Lindvall.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

• The twin of this dress walked the runway for the Fall 1979 Chloe collection.
• It was made under the creative direction of Karl Lagerfeld. 
• This is an incredibly rare and very well documented dress from one of the most creative and forward thinking collections that Karl did for the label. 
• In the book 'Chloe Catwalk', Vogue was quoted as saying "The clothes that Karl Lagerfeld designs for Chloe are the natural results of the world he creates, and if they sometimes seem to be from other times, it is because those other times have as much reality for him as rain and taxes have for the rest of us. You can love Karl Lagerfeld's clothes, you can hate them. See them once, and you can't forget them." The Japan Times called it "A trend setting collection". The Glasgow Herald said "Karl... takes the Edwardian Gibson Grill as his inspiration; hour glass shapes - curved bosom, tiny waists, swelling hips". 
• US vogue also commented that "Women collect Lagerfeld by the piece, not by the wardrobe"
  
• It is incredibly well documented and an extremely rare piece of Chloe, from an outstanding collection, and exemplary example of the history of the brand under Karl.
• The dress is made from a feather light silk chiffon in a deep ivory. In person, the ivory is a touch deeper than how it photoed here. Onto this are hand applied rows of lace and strings of faux pearls.
• The sleeves are long and they have added fabric built inside the shoulder area to help hold some volume ad the slight cap around the upper arm. They are full all the way down to the wrist where they explode outward with a cuff made out of four layers of the angle edged lace. Circling each wrist, and circling where the sleeve is set into the bodice, are a string of larger size pearls. Smaller size strings of pearls follow the lace that runs down and wraps around the full length of each sleeve.
• The neckline is high and like the cuffs, it is made out of multiple layers of the lace that are stacked on top of each other to create that dramatic ruff around the neck. It wraps over itself at the front and sweeps out to meet one shoulder.
• The bodice is cut to skim over the bust to the dropped waist. Multiple panels that mix the lace and strings of pearls are set diagonally over the bodice and around the back, highlighting the sweep of the collar above.
• The waist is dropped and seamed with a slightly more generous cut. It was not shown with a belt on the runway, but if you wanted to add shape, you certainly could belt it at the natural waist for a more defined silhouette.
• The skirt curves over the hips and it is a gathered all the way around the waist in a series of tiny pleats. These allow the skirt to open up underneath beautifully to help create that hourglass feel that was so prominent in this collection. Four more rows of the lace are set in the same angle all the way down the skirt but without the pearls. It is the perfect added detail and ties the whimsical feel of the entire dress together. A final layer of lace circles the bottom hem.
• At the back, the dress buttons to close with a series of large pearl buttons. These buttons are the largest pearls that we see on the dress and I love that he has used three sizes of pearls for this piece. These are the perfect finishing touch. 
• The dress is fully lined in an ivory silk. It closes with the buttons at the back. Hand finishes throughout with most of the inner seams finished completely by hand to couture standards. The lining through the upper body is starting to split in places. I see a couple of minor marks on the outer dress and some of the lace around the upper shoulders and neck line have darkened slightly. There are added panels around part of the inner lining where part of the inner lining was reinforced. Please see the photos after the label shot. These are all mentioned for accuracy but most of the flaws are inside the dress. Given the rarity and importance of this dress it is still considered to be in excellent overall condition.
• There is no size tag present so please go by the measurements below
• Excellent condition with the note above.

Sleeves: 24" to the ends of the lace at the cuffs and are 16" around the upper arm
Shoulders: 15"
Bust: to 17" flat across from side seam to side seam
Natural waist: 14" flat across from side seam to side seam
Seam at dropped waist: 14.5" flat across from side seam to side seam
Hips: to 26" flat across from side seam to side seam
Bodice: 18" from neck to dropped waist
Total length: 58" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD5335

Reference Photos: (1-4) Fall 1979 Chloe Preview.  /  (5) Fall 1979 Chloe Runway.  /  (6) From the book "Chloe: CATWALK".

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

• After much research I believe this to be from the Spring 1979 Chloe collection.
• It was made under the creative direction of Karl Lagerfeld. 
• In this collection he moved away from 1940s as his inspiration into the sex appeal of the 1950s, said the book 'Chloe Catwalk'. The silhouettes were based on the hourglass. In that same book there was a very similar floral patterns shown I have included several photos here for you.
• Hand placed gathering emphasizes the hips for many of the pieces in this collection, along with extra emphasis on the waist. Lagerfeld said of the collection to the press "Frivolity is important. I want shape and sensualness."
• The dress is made from one of his signature feather light silks being used during this time period for Chloe. It is screened with a custom print that mixes an ivory, more pastel coral colour and a pale lavender.
• An interesting detail is that the labels are on the side of the dress that I think is the front. The side that has the deep plunge is longer in length at the hem so I believe that should be the back. I have seen other dresses with this label placement from around this time period and when the back is plunged like this, so it is not unusual to see. I have photoed it both ways for you, with the plunge at the back and the front. You could potentially wear the plunge at the front if you don't mind the longer hem at the front much like that Lacroix dress from me that was worn to the Met Gala a couple years ago when they turned it around backwards.
• The sleeves are long and it skims over the bust to the waist. The back plunges into a low V to just above the waist. As mentioned above, it is possible that you could wear it either way around. It is incredibly sexy worn either way.
• The waist is seamed and the dress comes with its original striped screened silk belt that hooks into place around you. The stripes on the belt pick up the stripes that are on the end of each sleeve and circle around the hem.
• The skirt curves over the hips and there is a gathering of the silk for added shape. It falls to the floor with the back cut longer then the front for a slight trained effect. You get the most fantastic movement as you walk.
• The dress is in its original uncut length and is unlined. It closes with a back hand set zipper. Hand finishes throughout. There is a tiny bit of fading at the top of the shoulders and edges of the hems. The entire dress looks to be hand dyed and or screened and it presents perfectly once on as this becomes part of the uniqueness of the pattern. The belt hooks to close.
• Excellent condition with the note above.

Sleeves: 22.5" and are 11" around the upper arm
Shoulders: 14"
Bust: to 17" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: to 18.5" flat across from side seam to side seam
Bodice: 16.5" from neck to waist
Total length: 60" from neck to front hem, 68" to the back hem with about 2" turned under the hem
Belt: 2.5" wide x 27" long where the hooks currently sit. 

Modern Sizing Equivalent: XS-SML

Item# DD5310

Reference Photos: From the book "Chloe: The Complete Collections" by Lou Stoppard.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

• This is an ultra rare original Halston from his main label. While this dress was eventually the inspiration behind the pieces that were recreated in a less expensive jersey for his Halston IV line, this is an original as seen on the runway. It is one of the pieces that would have inspired all of the other ones created in the diffusion lines.
• It was made under the creative direction of Roy Halston.
• In 2016 the twin of this dress entered modern day fashion history when Kate Moss wore its twin on the red carpet at the 2016 Cannes Film Festival. 
• We have had Martha Hunt wear a white one version that she sourced from us to Cannes. She landed on several Best Dressed lists as a result. 
• Ones from the main label like this would have been a custom order by a Client during this time period.
• I am always on the look out for this style of dress by Halston. It is perhaps the most iconic of all of the Halston silhouettes.
• There is a certain sexiness caused by the illusion of having the entire dress suspended by one shoulder. It gives the sense that the entire dress could drop in a puddle around you.
• It is constructed from two separate layers. This is also where this one differs from the more common diffusion line. Pieces from the Halston IV line have one panel of fabric that wrap around and extends out to create the draping. On this one there is a separate draping panel that is attached all the way around the neckline and then falls over the inner part.
• The inner dress is cut to skim over the body in a long sheath that widens out as it nears the hem. Here again we see a slight difference in the design. On this dress there is no slit running up the side seam. You can see in the runway photo that ones were created with a slit and from what I understand it was the choice of the client to have that added or not.
• A draped panel of the same fabric is attached all the way around the neckline and then is gathered up in a series of folds at the top of the shoulder. This allows for an incredible amount of fabric to fall from that shoulder and from around the neck. The jersey drapes down over the front and the back of the dress with one side of the draping completely opened down the length of the dress. The gathering on the shoulder causes that side to curve up a touch from the hem while the rest of the jersey cascades loosely down and over the body. 
• I love that the edges were finished by machine but then they have been turned under and tacked into place by hand all the way around the top draping so that it lies perfectly. This would have added countless hours to the construction of the dress and shows the level of detail that lies within his pieces. The simplicity of his work hides and extreme attention to every single stitch in line.
• This is an iconic and rare original dress by Halston.
• The dress slips on to wear with no closures. It should fit a variety of sizes since it is not cut to be super fitted and the jersey does have some stretch. It looks to have been worn very little if at all.
• There is no size tag present so please go by the measurements listed below
• Excellent condition

Bust: 17-20" flat across from side seam to side seam
Waist: 16-18" flat across from side seam to side seam
Hip: to 22" flat across from side seam to side seam
Total length: 57" from top of shoulder to longest point of hem

Modern Sizing Equivalent: SML-LRG

Item# DD5297

Reference Photo: (1) Summer 1977 Halston.  /  (2-3) Kate Moss in Vintage Halston at the 2016 Cannes Film Festival.  /  (4) Karen Bjornsen, Alva Chinn, Connie Cook and Pat Cleveland in Halston Dresses, photographed by by Harry Benson, 1978. / (5) Martha Hunt wearing a white version from us in Cannes, 2019.  /  (6) Martha Hunt on Harper's Bazaar Australia Best Dressed List. /  (7) Halston Form Fit Ad, Vogue, October 1980.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

• This set is from a late 1970s YSL collection most likely 1979 or 1977
• It was made under the creative direction of Yves Saint Laurent.
  
• Both pieces are made out of a feather light silk in a very unusual muted turquoise that has a gorgeous muted quality to it. The photos are very close to the colour. It is perhaps a touch more pastel in person.
• The neckline of the top is set wide across so you can wear it off of the shoulder for a bare expanse of skin to show. A wide 6" ruffle follows the entire neckline and gives the prettiest flounce all the way around you. At the front the ruffle has been gathered so that it narrows in by a matching band of fabric that slips through an open loop along the seam. I love the added detail that this adds.
• Under that top ruffle there is a second ruffle sitting directly underneath it with stiffening added to its edge to add support. Set under that is another 5" wide ruffle that circles around each arm. These also have a little half ruffle with stiffened edging underneath for added support. The final effect is that of an gorgeous double ruffle set just under each shoulder and it is phenomenal.
• The top is cut wide and generous in a very boxy shape. This width through the body makes it easy to fit and it also is what gives it some volume once it is tucked into the skirt. 
• The skirt is a YSL masterpiece and a phenomenal example of the skirts that he was doing during this time period.
• The waist is banded and comes with a matching silk tie belt that you can cinch in the waist as much as needed. This tie is incredibly long and you can tie it in a bow wherever you wish. I love how it picks up on the bow of the top.
• Tiny gathered pleats are set in all the way around the waist and then the skirt falls under that into beautiful tiers. At the point just past the hips, the lower skirt is set into the top of the skirt with a ruffled seam that circles all the way around you. Built in behind that on the interior of the skirt is a wide band of stiffening that helps to hold the shape and volume. At the hem there is a panel of the same silk that has been tightly gathered into a wide ruffle. All of this perfectly ties in with the ruffles around the shoulder of the top. 
• The skirt is incredibly full but still light in feel because of the lightness of the fabric. If you were to lay this out and open the skirt out, it is more than a full circle around. That volume combined with the lightness of the fabric gives you incredible movement when you move.
  
• This is an absolutely stunning example of his work during this time period and one of my favourite pieces I have ever had by him.
• It is exceptionally rare to find a full set in such a iconic YSL design and in this condition.
• Both pieces are unlined. The top slips over the head to wear and the skirt zips to close with a side set zipper and two flat hook and eye at the waist. The tie belt is original to the dress.
• Both pieces are tagged a vintage YSL 40.
• Excellent condition

Top
The arm opening is 14.5" around
Shoulders: the opening is 32.5" around
Bust-bottom seam: to 20" flat across from side seam to side seam
Total length: 19.5" from top of bodice to hem

Skirt
Waist: 13.5" flat across from side seam to side seam
Hips: open
Total length: 43.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD5293

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

• This is a very pretty late 1970s, early 1980s dress from the Richeline label.
• The Richilene label was launched around 1970 and lasted to about 1990 or so. It was a New York based label and was designed by Ilene Pacun and her husband Richard. The name came by combining their two first names.
• They focused on party dresses for the most part and had a pretty wide range of options price wise. By the mid-1980s their prices ranged from about $200-$2000 and the higher end pieces were very well made.
• This dress combines a soft pastel turquoise and pink floral print with the top and sleeves being done in a silk chiffon and the skirt made out of a silk in the same print.
• The shoulders are soft and the front and the back of the top have a wide scoop that goes almost to the edges of the shoulder.
• The sleeves are incredible. Each is exceptionally wide by the time it reaches the cuffs. They are finished in a beautiful balloon cut. They are cut extra long but once they are closed around the wrist they simply puff out above your hands in the most beautiful way.
• The bodice skims over the bust to a seamed waist for shape. We have added a little turquoise grosgrain ribbon that will be sent with the dress. Inside it is lined in a nude silk chiffon for the upper bodice and shoulders with the rest backed in a blue silk so that it is opaque.
• From there the skirt curves in a very full and open shape over the hips and continues to expand outwards to the floor. There is an immense amount of fabric used in the skirt. It has been gathered in wide soft pleats all the way around the waist and this is what helps to give it its fullness. When you move it moves beautifully around you.
• The dress is fully lined in a blue silk through the bodice as described above and the sleeves are unlined. The skirt has an attached cotton-mix matching blue lining. It closes with a back zipper and there is a hidden snap on each wrist. 
• There is no size tag present so please go by the measurements listed below
• Excellent condition

Sleeves: approximately 26" and are full and open around the upper arm
Shoulders: approximately 14-15"
Bust: to 17.5" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of shoulder to waist
Total length: 55.5" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD5292

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.